=Labarum=, =Chrism=, R. The standard of the Roman emperors from the time
of Constantine; in form it resembled the _vexillum_ of the cavalry. The
Labarum is the banner of the Chrism, or sign that appeared to
Constantine, viz. the Greek letters XP in a monogram (the two first
letters of the Name ΧΡΙΣΤΟΣ); sometimes followed by the Roman letters
IHSV, or the motto in full, “_in hoc signo vinces_.” It is, under
several variations, a common ecclesiastical emblem.
=Labellum.= Dimin. of LABRUM (q.v.).
[Illustration: Heraldic Labels.
Fig. 411. Labels of 3 points. Label of 5 points.]
=Labels=, in heraldry, are marks of _cadency_. (1) A band crossing the
shield, with three points depending, marks the coat of an eldest son.
(2) Broad ribands hanging from a knight’s helmet. (3) In mediæval
architecture and church decoration, images of saints and angels bear
_labels_ inscribed with texts and mottoes.
=Labis.= (See SPOON.)
=Labrum=, R. (lit. a lip). A general term to denote any kind of vessel
the brim of which turned over on the outside like the lip of the human
mouth; a wide flat basin which stood in the thermal chamber or CALDARIUM
(q.v.) of the Roman baths.
[Illustration: Fig. 412. Labyrinth.]
=Labyrinth=, Gen. (λαβύρινθος). A building of considerable size, usually
underground, containing streets and cross-roads, like the catacombs, &c.
The term is also applied to intricate designs executed on the
grass-plots of gardens, and on the mosaic or glazed tiles in pavements.
(Fig. 412.) (See MINOTAUR.)
=Lac= or =Gum Lac= (Arabic, _lakah_). A resin produced on an East Indian
tree by the punctures of the _Coccus lacca_ insect. It forms a brittle
substance of a dark red colour, and when in grains is called _seed lac_,
and in thin flat plates _shell-lac_. (See LACQUER.) The chief use of
_lac_ in Europe is for making sealing-wax, and as a basis for _spirit
varnishes_ and _French polish_.
[Illustration: Fig. 413. Point de France (pillow-made), 17th century.]
=Lace= was originally of a heavy texture, more like embroidery. It was
of two kinds, _lacis_, or “darned netting,” and “_cutwork_.” _Lacis_,
often worked in coloured silks and gold thread, was also called “opus
araneum” or “spider-work.” In “_cutwork_,” a net of threads was laid on
to cloth, and the cloth sewn to it in parts, and the other parts cut
away; or, by another method, the threads were arranged on a frame, all
radiating from a common centre, and then worked into patterns. This was
the old convent lace of Italy, called “_Greek lace_.” _Point laces_ are
lace made with a needle on a parchment pattern. The principal are the
ancient laces of Italy, Spain, and Portugal; and the modern _point
d’Alençon_ of France. _Pillow laces_ are made by the weaving, twisting,
and plaiting of the threads with bobbins on a _cushion_; such are
Mechlin, Lille, Valenciennes, Honiton, Buckingham, and many
manufactories in France. _Brussels lace_ is both _point_ and _pillow_.
The thread is scarcely visible for fineness, and costs 240_l._ per
pound. This lace is called in France _point d’Angleterre_, or _English
point_. (Fig. 414.)
[Illustration: Fig. 414. Old Brussels or Point d’Angleterre.]
=Lace Glass.= (See GLASS.)
=Lacerna=, R. An open cloak worn by the Romans over the _toga_, and
fastened on the right shoulder with a brooch or fibula. It frequently
had a cowl attached. (See ABOLLA, PÆNULA, PALLIUM.)
=Lachrymatory.= A tear-bottle; so called from the use attributed to it
of holding tears consecrated to the dead. These phials are made of glass
or earthenware, with a long neck, and the mouth formed to receive the
eye-ball. The figure of one or two eyes has sometimes been found
impressed upon them.
=Lacinia=, R. The two excrescences, like a divided dewlap on the throat
of a goat, which were represented on the necks of fauns and satyrs.
=Laciniæ=, Gr. and R. The hanging corners of the _toga_ and _chlamys_,
and the metal knobs attached to make them hang straight.
=Lacis.= A kind of embroidery, of subjects in squares, with counted
stitches (called also “point conté,” darned netting, &c.). (See LACE.)
=Laconicum=, R. A semicircular termination to a room in a set of baths
(_caldarium_), so called because of Spartan origin. Under the word
BALNEÆ will be found the _laconicum_ of Pompeii, restored. (Fig. 56.)
=Lacquer= (Fr. _laque_) is made of a solution of shell-lac and alcohol,
coloured with saffron or other colouring matters. Specimens of ancient
Chinese red lacquer deeply carved with figures of birds, flowers, &c.,
and generally made in the form of trays, boxes, and sometimes vases, are
met with in the more northern Chinese towns, and are much prized. What
is called the _old gold Japan lacquer_ is also esteemed by Chinese
connoisseurs, and the specimens of this are comparatively rare at the
present day. (_Fortune._)
=Lacs d’amour=, Fr. True lovers’ knots.
=Lacuna=, R. (_lacus_, a hollow). An ash-pit placed beneath a lime-kiln
to receive the ashes from the kiln.
=Lacunar=, Arch. A flat roof or ceiling, in contradistinction to a
_camera_, vaulted roof.
=Lacunaria=, Arch. Panels in a flat ceiling (_lacunar_), formed by the
rafters crossing one another at right angles. The edges of these panels
are often decorated with carved and gilt ornaments, and the centres
filled in with paintings.
=Lacus=, R. (λάκκος). A lake, and thence a large, shallow, open basin,
or artificial reservoir; also, a pit made below the level of a
wine-cellar (_cella vinaria_), or of an oil-cellar (_cella olearis_), to
receive the wine or oil as it comes from the presses.
=Lady.= A word of Saxon origin, generally supposed to signify
“loaf-giver,” from _klaf_, a loaf. As a title it belongs to the
daughters of all peers above the rank of a viscount, but is extended by
courtesy to the wives of knights.
=Lady Day=, Chr. The 25th of March. Festival of the Annunciation.
=Læna=, R. (1) A cloth with a long nap. (2) A thick woollen cloak worn
over the toga for the sake of warmth. In later times the læna was often
worn as a substitute for the toga.
=Lagena=, Gr. and R. An earthenware vessel with a swelling body, used
for holding wine or vegetables and dried fruits.
=Laid Papers.= Papers with a ribbed surface; as cream-laid, blue-laid,
&c.
=Lake, Cloth of=, O. E. Linen for under-garments.
=Lakes.= (See CARMINE.) Pigments of a fine crimson red colour, of which
there are several kinds; they are prepared from cochineal, kermes, lac,
and the best from madder-root. Common lake is obtained from Brazil wood,
which affords a very fugitive colour. (See YELLOW LAKE, PURPLE LAKES,
GREEN LAKES, CARMINATED LAKES, DROP LAKE, RED LAKE, MINERAL LAKE,
MADDER, &c.)
=Lakes= of _Florence_, _Paris_, _Vienna_, &c. (See CARMINATED LAKES.)
=Lamb.= The peculiar symbol of the Redeemer, generally the emblem of
innocence, meekness, modesty. It is properly called the Paschal Lamb,
and with a flag, or between two stars and a crescent, was the badge of
the Knights Templars. (See AGNUS DEI.)
=Lamboys= (Fr. _lambeau_). A kind of skirt over the thighs, worn over
the armour. (See Fig. 463.)
=Lambrequin.= A covering for the helmet. (See MANTLING.)
=Lamb’s-wool=, O. E. A drink of ale with the pulp of roasted apples in
it.
=Lames=, Fr. Flexible plates or _blades_ of steel, worn over the hips.
=Lametta.= Brass, silver, or gold foil or wire.
=Lamiæ=, Gr. and R. Vampires who fed at night on the flesh of human
beings. The Lamiæ of Pliny are animals with the face and head of a
woman, and the tail of a serpent, inhabiting the deserts of Africa.
=Laminated.= Disposed in layers or plates.
=Lammas=, O. E. The 1st of August.
[Illustration: Fig. 415. Roman Lamp.]
=Lamp=, =Lantern=, or =Taper=, in Christian art, was an emblem of piety;
an attribute of St. Lucia. (See LUCERNA, LYCHNUS, LANTERN.)
=Lampadephoria=, Gr. (torch-bearing). A game common throughout Greece,
in which the competitors raced, either on foot or horseback, six stadia
(about three-quarters of a mile), carrying lamps prepared for the
purpose. (See LAMPAS.)
=Lampas=, Gr. and R. A general term denoting anything which shines or
affords light; a torch, a lamp, and especially a link. The word was
frequently used for _lampadephoria_, the _torch-race_.
=Lamp-black.= A soot used as a pigment. It is very opaque, and dries
slowly in oil. It is also the basis of all printing and lithographic
inks.
[Illustration: Fig. 416. Device of Catherine de’ Medicis.]
=Lance.= In Christian art, the attribute of St. Matthias, in allusion to
the method of his martyrdom. (See AMENTUM, LANCEA, HASTA.) A shivered
lance with the motto “Lacrymæ hinc, hinc dolor,” was a device adopted by
Catherine de’ Medicis after the fatal accident to her husband, Henry
II., in a tournament. (Fig. 416.)
=Lance-rest.= A projecting iron fixed to a breastplate to support the
end of the lance in a joust or tournament.
=Lancea=, R. A long, light spear, serving both as a pike and a missile.
=Lanceola.= Dimin. of LANCEA (q.v.).
=Lanceolated=, Arch. Having the form of a spear-head. The term is
applied to lancet windows, arches, and members of architecture forming a
rose.
[Illustration: Fig. 417. Lancet Arch. 13th century.]
=Lancet Arch.= A pointed arch, obtuse at the point, resembling a
surgeon’s lancet, from which a style of architecture, common in England
in the 13th century, is named. (Fig. 417.) (See EARLY ENGLISH
ARCHITECTURE.)
[Illustration: Fig. 418. Lancula.]
=Lancula=, R. (dimin. of LANX). The scale which was placed, when
necessary, at one of the ends of a Roman steelyard (_statera_). (Fig.
418.)
=Landgrave= (Germ. _Land, Graf_). A title given to those Counts of
Germany who take their rank from a large tract of land. The first
_Landgraves_ were those of Thuringia, Hesse, Alsace, and Leuchtenberg.
=Langue-de-bœuf=, Fr. A blade fixed to a pikestaff; named after its
shape.
=Langued=, Her. To denote the tincture of an animal’s tongue.
=Laniarium=, =Laniena=, R. (_lanius_, a butcher). A slaughter-house or
butcher’s shop.
=Laniers=, O. E. Leather straps for various uses; as armlets to a
shield, or as garters or bands, &c.
=Lanipendia=, R. (_lana_, wool, and _pendere_, to weigh). A woman whose
duty it was to weigh the wool for spinning, and distribute it among the
slaves for their daily tasks.
=Lanista=, R. A man who trained gladiators for the Roman circus. They
were frequently his own property, and he let them out for hire; or he
received them from their owners into his _school_ (ludus) for training.
=Lansquenet=, Fr. A game at cards.
[Illustration: Fig. 419. Old English Horn Lantern.]
=Lantern.= In Christian art, the attribute of St. Gudula, in allusion to
the legend of her miraculous lantern, which her prayers rekindled as
often as Satan extinguished it. In Architecture, a small turret above
the roof of a building, having windows all round it.
[Illustration: Fig. 420. Lanterne des Morts.]
=Lanterne des Morts= or =Churchyard Beacon=, Arch. A small tower raised
upon a base, and generally round, but sometimes square or polygonal;
with windows at the top to emit the shining rays from the lamp inside.
Fig. 420 represents a “lanterne des morts” at Ciron, France.
=Lanx=, R. This term denotes (1) a circular dish of silver or other
metal, often embossed, used especially at banquets. (2) The scale of a
balance (_libra_). (3) A salver for handing fruits or other dainties at
dessert.
=Laocoon.= A magnificent sculpture, found in 1506 among the ruins of the
palace of Titus, now in the Vatican. It represents Laocoon and his two
sons struggling in the folds of two monster serpents. According to Pliny
it is the work of three Rhodian sculptors, Agesander, Polydorus, and
Athenodorus, and stood in the palace of Titus. He said that it was made
of one stone, but the joining of five pieces has been detected. [See
_Lessing’s_ “_Laokoon_.”]
=Laphria=, Gr. An annual festival, celebrated at Patræ in Achaia, in
honour of Artemis, surnamed Laphria.
=Lapidary.= An artist who cuts, grinds, and polishes gems and stones. In
the lapidary’s _scale of hardness_ of minerals there are 10 standard
degrees, represented as follows:—No. 1, _talc_, which is very easily
cut; No. 2, _compact gypsum_; No. 3, _calc-spar_; No. 4, _fluor-spar_;
No. 5, _apatite_; No. 6, _felspar_; No. 7, _quartz_; No. 8, _topaz_; No.
9, _sapphire_; No. 10, _diamond_. Diamonds are for the most part cut at
Amsterdam.
=Lapis Lazuli.= A beautiful blue mineral stone of various shades of
colour. (See ULTRAMARINE.)
=Laquear=, =Laqueare=. Synonym of LACUNAR (q.v.).
=Laqueatores=, R. An order of gladiators who used a noose to catch their
adversaries.
=Laqueatus=, R. A ceiling decorated with panels (_lacunar_).
=Lararium=, R. A small shrine consecrated to the gods called Lares; a
room in which the images of the Lares or tutelary genii of the house
were placed. It is said to have been customary for religious Romans,
immediately after they rose in the morning, to pray in the Lararium.
=Larentalia=, =Larentinalia=, or =Laurentalia=, R. A Roman festival in
honour of Acca Larentia, the nurse of Romulus and Remus; or, according
to another tradition, a festival instituted by Ancus in honour of a
wealthy courtezan named Larentia, who had bequeathed all her property to
the Roman people. It was celebrated on the 10th of December.
=Lares=, R. The Lares Privati, Domestici, or Familiares, were the
guardian deities of the house. The spot peculiarly sacred to them was
the _focus_, or hearth, in the Atrium, where the altar for domestic
sacrifice stood, and near it was a niche, containing little images of
these gods, to whom offerings of flowers, frankincense, and wine were
made from time to time, and regularly on the kalends of each month.
There were many classes of Lares Publici: (1) The Lares rurales, who
presided over the flocks, herds, &c. (2) The Lares compitales,
worshipped where two cross-roads met, &c. [Cf. Ovid, Fasti, v. 129.]
=Larghetto=, It. In Music, less slow than _largo_.
=Largo=, It. In Music, a slow movement, one degree quicker than
_adagio_.
=Latch=, O. E. A cross-bow.
=Lateen Sail.= A triangular mainsail on a tall sloping yard, which
reaches down to the deck.
=Later=, R. A brick; the πλίνθος of the Greeks. Among the Romans bricks
were of various forms; the largest was called _pentadorum_; the next
size, _tetradorum_. _Later coctus_, _coctilis_ was the term applied to a
baked brick; _later crudus_ was an unbaked brick, i. e. one dried in the
sun. Pliny calls the brick-field LATERARIA.
=Latericium= (opus), R. A structure built of bricks.
=Laterna=, =Lanterna=. A LANTERN (q.v.).
=Laton= or =Latten=, O. E. An alloy of brass, of which candlesticks,
sepulchral monuments, crosses, &c., were made in the Middle Ages. White
Laton was a mixture of brass and tin.
=Latrunculi=, R. (Gr. πεσσοί). The ancient game of draughts. It is
mentioned by Homer. The Romans often had twelve lines of squares
(_mandræ_) on the draught-board. The number of pieces varied from five
to twelve, and in later times the game was played with the _tesseræ_ or
dice.
=Lattice=, Arch. A trellis or cross-barred work; a network window.
=Laura=, Chr. The origin of the name is obscure. It signifies a
collection of separate cells in a wilderness, where a community of monks
lived each in his own cell, meeting together only during two days of the
week. The most celebrated _lauras_ were in Palestine.
=Laurel=, Gen. The emblem of glory and victory. Sacred also to Apollo.
In modern times an emblem of peace.
=Lautumiæ=, R. (λα-τομία). A stone-quarry, and thence a prison hewn out
of a quarry, more particularly the public prison of Syracuse, hewn into
the solid cliff, but roofless. The Tullianum at Rome was called Lautumiæ
also.
=Lava.= The scoria from an active volcano, which is well adapted to
ornamental carving.
=Lavabo.= (See LAVATORIUM.)
=Lavacrum=, R. (_lavo_, to wash). A bath of hot or cold water, in
contradistinction to a vapour bath (_caldarium_).
=Lavatorium=, R. (_lavo_, to wash). A small building in a monastery, in
which the monks washed their hands before and after a repast. The
_lavatorium_ was usually placed near the refectory.
=Lawn.= This fine linen fabric was introduced in the reign of Queen
Elizabeth.
=Lay Figure.= A large wooden jointed doll, used by artists to display
drapery.
=Lead-glazed Wares.= (See POTTERY.)
[Illustration: Fig. 421. Stamped gilt and painted leather hangings
illustrating a pictorial arrangement of pattern.]
=Leather= was used instead of tapestry for the hangings of rooms in the
16th century, and was beautifully gilded and chased. (Consult “L’Art de
travailler les Cuirs dorés ou argentés,” by M. Fougeroux de Bondary, in
“Description des Arts et Metiers,” 1762.) (Fig. 421.)
=Leaves=, Her. Their peculiarities are blazoned as laurel leaf, oak
leaf, &c.
=Leaves=, =Leafage=. (See FOLIAGE.)
=Lebes=, Gr. (λέβης; λείβη, to pour out). A brass saucepan or caldron
(_pelvis_, _ahenum_); it was a deep vessel with swelling sides. It was
sometimes made with a pointed bottom to fit into a stand, which was
called INCITEGA.
=Lebiton=, =Lebitonarium=. (See COLOBIUM.)
=Lecanê=, Gr. A drinking-bowl used by the Etrurians (basin-shaped, with
a lid).
=Lectern.= A reading-desk in a Christian church; most frequently of
brass in the form of an eagle, but often decorated with more elaborate
emblems.
=Lectica=, R. (_lectus_, a couch). A couch or litter carried by bearers,
used both by men and women; it was introduced from the East, and was
quickly adopted in Greece and Rome. The Greek litter had a roof made of
the skin of an ox, and the sides covered with curtains. Among the Romans
it was seldom used excepting for travelling, until the luxurious days of
the empire, when the lectica became a very splendid affair. It was
sometimes constructed with gold and ivory, and instead of curtains it
was closed at the sides, with windows of transparent stone (_lapis
specularis_). When standing, it rested on four feet. It was borne upon
poles (_asseres_) by two or more slaves, and was called hexophron,
octophron, &c., according to the number of _lecticarii_ employed to
carry it.
=Lecticula.= Dimin. of _lectica_; it denoted a litter for the conveyance
of the sick, or a bier on which a dead body was carried out.
=Lectisternium=, R. (_lectus_, and _sterno_, to spread out). A religious
ceremony consisting of a banquet offered to the gods, at which the
statues of the latter were present stretched out on couches, with tables
and viands before them as if they were partaking of the feast.
=Lectorium=, Chr. (_lector_, a reader). An old term afterwards replaced
by that of AMBO (q.v.).
=Lectrin=, Chr. An old term now replaced by _jubé_ or rood-loft and
desk.
=Lectrum=, Chr. An old term denoting a praying-desk.
=Lectus=, R. (_lego_, to put together). A bed or couch complete; _lectus
cubicularis_, a sleeping-couch; _lectus genialis_, a nuptial bed;
_lectus adversus_, a symbolical marriage-bed; _lectus triclinaris_, a
dining-couch, a couch for three persons, placed in the _triclinium_ or
dining-room; _lectus funebris_, a funeral bier. The diminutive of this
term is _lectulus_. The _lectus cubicularis_ resembled an old-fashioned
sofa with a high back; being of considerable height, it was reached by
means of a footstool (_scamnum_), or a set of steps (_gradus_). The
_lectus genialis_ (Gr. εὐνὴ) or marriage-bed was still higher, larger,
and handsomely decorated; it is represented with a flight of steps at
the foot. The _lectus adversus_ was a symbolical marriage-bed, and stood
in the atrium, opposite to the entrance of the house, and was, as it
were, the throne or seat of office, from which the housewife
superintended the spinning, weaving, and similar duties of the servants.
The _lectus triclinaris_ used at meals is described under the article.
_Lectus funebris_ is the name of the bier upon which the dead were borne
to burial or the pyre.
[Illustration: Fig. 422. Lecythus.]
=Lecythus=, Gr. A cylindrical vase made to contain oil or perfumes. It
often figures in the hands of goddesses, or of females at the toilet;
and is mostly ornamented with delicate paintings and choice subjects.
(Fig. 422.)
=Ledger=, Arch. A stone slab.
=Ledger Lines.= In Music, extra lines above or below the five ruled
lines.
=Ledgment=, Arch. A horizontal course of stone or mouldings,
particularly the base moulding.
=Leet=, O. E. An ancient Anglo-Saxon court of justice; a manor court.
=Legato=, It. Literally, “bound;” in Music signifies “in a smooth and
gliding manner.”
=Legend.= In Numismatics, the words round the _edge_ of a medal or coin.
=Leghorn.= A kind of straw plait, first invented at Leghorn.
=Legio=, R. (_lego_, to collect). A Roman legion; a division of the army
consisting of from three to six thousand heavy-armed soldiers, who were
called _legionarii_. Twelve thousand legionaries were required to make
up a consular army. The legion contained troops of all arms; infantry,
cavalry, and the ancient substitutes for artillery; and was an army
complete in itself. The numbers varied, as well as the organization, at
different periods. Livy speaks of legions of 5000 infantry and 300
horse. The subject is one demanding voluminous description. The legion
was subdivided into Cohortes, Manipuli, Centuriæ, Signa, Ordines,
Contubernia.
=Leice=, Celt. Also called _meanal leice_. The stone of destiny; a large
crystal kept by the Druids for soothsaying.
=Leister= or =Lister=, Scotch. A trident or many-pronged spear for
striking fish.
=Leming Star=, O. E. (from A.S. _leme_, brightness). A comet.
=Lemman= (A.S. _leof_=loved, and _man_). A sweetheart, &c.
=Lemnian Reddle.= An _ochre_ of a deep red colour and firm consistence,
used as a pigment.
=Lemniscus=, R. (λημνίσκος; λῆνος, wool). A fillet or ribbon awarded, as
a mark of honour, to a person who had distinguished himself in any way.
The person who wore it was called _lemniscatus_. It hung down from
crowns or diadems at the back of the head. _Lemnisci_ were also worn,
without _coronæ_, by ladies for ornament. Hence, in Geometry, a curve of
the form of the figure 8 is called _lemniscata_.
=Lemon Yellow.= A bright pigment, brighter and clearer than Naples
yellow or masticot, and not liable to change.
=Lemures= or =Manes=, R. The souls of the dead, who, according to the
religious belief of the Romans, were transformed into beneficent or evil
genii, according as the individual had been during his life good or bad,
virtuous or worthless. “_Lares_ si meriti boni sint; _Lemures_ sive
_Larvas_ si mali; _Manes_ autem cum incertum est,” says St. Augustine.
=Lemuria.= Festivals in honour of the Lemures celebrated at Rome, at
night and in silence, on the 9th, 11th, and 13th of May. During them the
temples of the gods were closed, and marriage was considered unlucky;
hence the proverb, _Mense Maio male nubent_. Those who celebrated the
Lemuria walked barefooted, washed their hands three times, and threw
black beans nine times behind their backs. On the second of the three
days there were games in the circus in honour of Mars, and on the third
day the images of the thirty Argei, made of rushes, were thrown from the
Pons Sublicius into the Tiber by the Vestal virgins. On the same day
there was a festival of merchants.
=Lenn= or =Linn=, Celt. A woollen wrap with a long nap, or simply the
skin of some animal, worn in severe weather as a kind of upper garment
by the poorer class of Gauls.
=Lens= (lit. a lentil). A convex or concave glass, which, by changing
the direction of rays of light, magnifies or diminishes objects.
=Lent= (A.S. _lencten_, Spring), Chr. The forty days’ fast preparatory
to Easter. Pope Gregory the Great speaks of this fast as of thirty-six
days’ duration; i. e. six weeks, not counting the Sundays, which, it is
suggested, amounts to one-tenth, or a _tithe_ of the year.
=Lent Rose= or =Lent Lily=, O. E. The daffodil.
=Lentiform.= Shaped like a double convex lens.
=Lentiner=, O. E. A hawk taken in Lent.
=L’Envoy.= “The conclusion of a ballet, or sonnet, in a short stanzo by
itselfe, and serving oftentimes as a dedication of the whole.”
(_Cotgrave._)
=Leonine Verses.= Rhyming Latin compositions, very popular in the Middle
Ages. In the 3rd century a piece of 1200 such verses was written by
Commodianus. St. Augustine and the venerable Bede also wrote some. The
proper _leonine_ consists of a couplet rhyming at the end; but the
rhymes may be otherwise distributed: e. g.—
“O miseratrix! O dominatrix! præcipe dictu;
Ne devastemur, ne lapidemur, grandinis ictu.”
=Leontarium=, Chr. A fountain of lions spouting water; frequently placed
in the courtyard or atrium of basilican churches.
=Leopard=, Her. A lion in any other attitude than “rampant” was blazoned
by the early heralds as a “leopard.” Till the 14th century the lions of
the Royal Shield of England were designated leopards.
=Leou=, Chinese. (1) A building of many stories, like a pagoda. (2) An
upper floor in a Chinese house.
=Lepastê=, R. (λεπὰς, a limpet; Lat. _patella_). A large vessel, in form
like the _cylix_, but resting on a broad stand; employed from the
earliest times for holding pure wine.
=Leporarium=, R. (_lepus_, a hare). A hare warren; a walled paddock in
which four-footed game were preserved.
[Illustration: Fig. 423. The Leschê at Delphi.]
=Leschê=, Gr. (λέσχη, i. e. a place for talking). A public place of
assembly and conversation, or a small exchange for transacting business,
&c. The leschê of Delphi (Fig. 423) was celebrated for the painting
which it contained by Polygnotus (470 B.C.). At Athens there were 360
leschai, small buildings or porticoes furnished with seats and exposed
to the sun, where the poor could rest in warmth and shelter.
=Lesina=, It. An awl. The device of the Lesina Academy, with the motto,
“_L’assotigliar la più, meglio anche fora_.”
=Lettern=, Arch. The _Lectern_ of a church is often so called, when made
of _Latten_ or brass. The word is used instead of _Latten_.
=Letters of the Alphabet= are sometimes used as charges in heraldry. The
practice of weaving letters into the ornamentation of textile fabrics is
very ancient in the East. Pliny says, “Parthi _literas_ vestibus
intexunt.” Fanciful designs imitating or copying oriental letters
without meaning were worked in church textiles in early Christian times;
and the artists of Italy up to the middle of the 16th century
represented such devices on the hems of the garments of great personages
in their paintings.
=Leucite= (λευκὸς, white). _White spar_, or _white garnet_; a white
stony substance found among volcanic productions.
=Leucomb=, O. E. A dormer window.
=Leucopyrite.= A mineral used in the production of artificial
_orpiment_.
=Levacion=, O. E. The elevation of the host in the mass.
=Levant.= The Eastern shores of the Mediterranean.
=Levecel=, O. E. A pent-house or projecting roof over a door or an open
shed.
=Levesele=, O. E. A lattice. The original of the _chequers_ on the
door-posts of inns.
=Levitonarium.= (See COLOBIUM.)
=Lew=, O. E. (modern _lea_). Sheltered from the wind; hence =Lewe Water=
(modern _luke_-warm water).
=Lewins=, O. E. A kind of bands put about a hawk.
=Libbard=, O. E. A leopard.
=Libella=, R. (_libra_, a level or balance). (1) A level, or instrument
employed by masons, joiners, and carpenters, in the same way as with us,
for testing the evenness of the surface of their work. (2) A small Roman
silver coin, afterwards substituted by the _As_, which it equalled in
value.
=Libellus= or =Libellulus=, R. A small book, pamphlet, letter, or
notice.
=Liber= (literally, the _rind_ of the papyrus; Gr. βιβλίον, from the
Egyptian word _byblos_, the papyrus plant). A book.—Parchment
(_membrana_) was invented by Eumenes, king of Pergamos; hence its name
of _pergamentum_. The paper (_charta_) or parchment was only written
upon on one side; the other side was stained yellow. Writings were
frequently washed off, and the parchment used again was called
_palimpsestus_. The sheets forming a book were joined together and
rolled round a staff, and then called a _volume_ (_volumen_). The stick
was usually ornamented with balls or bosses, ornamented or painted,
called _umbilici_. The ends of the roll, carefully cut, polished with
pumice-stone, and coloured black, were called _geminæ frontes_. The
reader held the staff in his left hand to unroll the sheet (_evolvere
librum_), as he proceeded, with his right. The roll, if valuable, was
kept in a parchment case, which was stained with a purple colour, or
yellow. The title of the book (_titulus_ or _index_) was written on a
small strip of papyrus or parchment with a light red colour (coccum or
minium); and this practice was the origin of the art of illumination.
=Liber Pontificalis=, _seu de gestis Romanorum pontificum_. A work of
the 15th century, of great value to the student of early Christian art
work, and in particular of textiles and embroidery.
=Libra=, R. (1) A balance with two scales (_lanx_), depending by chains
from the ends of the beam (_jugum_); in the centre of the latter was a
handle (_ansa_). (2) The As or pound; the unit of weight. (See AS.)
=Libretto=, It. The words of an opera, oratorio, &c.
=Librile=, R. (_libra_). A term denoting the ends of the beam (_jugum_)
in a balance, and thence the balance itself; it is thus synonymous with
LIBRA (q.v.).
=Liburna=, =Liburnica=, R. A vessel of war so called from the fact that
it was built on a model invented by the Illyrian pirates, or Liburni.
=Lichanos=, Gr. (_forefinger string_). The note below the MESE of the
seven-stringed lyre. (See MESE.)
=Lich-gate.= A shed over the gate of a churchyard to rest the corpse
under. (See CORPSE-GATE.) (Fig. 197.)
=Lich-stone=—near a churchyard gate, for resting coffins on—is generally
raised about three feet from the ground, shaped like a coffin, and has
stone benches round it for the bearers to rest upon.
=Liciæ=, Med. Lat. (Fr. _lices_), from the Italian _lizza_, palings. The
lists; an enclosed space surrounding a camp or castle.
=Licium=, R. A leash, or thick thread, employed to divide in two a set
of threads in a warp, in order to allow the shuttle to pass through
them. By analogy, any kind of thread or cord used for fastening.
=Lictor=, R. (See FASCES.)
=Lieberkuhn.= A reflecting mirror on a microscope, named after the
inventor.
=Lierne Rib= (in a vault), Arch. (From _lier_, to bind.) “Any rib that
does not arise from the impost, and is not a ridge rib, but crosses from
one boss or intersection of the principal ribs to another. Vaults in
which such _liernes_ are employed are termed LIERNE VAULTS.” (_Parker’s
Glossary._)
=Light Red.= A pigment of a russet orange tint, produced from burnt
ochre.
=Lights.= The openings between the mullions of a window. (See DAYS.)
[Illustration: Fig. 424. Ligula.]
=Ligula=, R. (1) A small tongue-shaped sword. (Fig. 424.) The term is
derived from _lingua_, a tongue. (2) A liquid measure, a _large_
spoonful, distinguished from _cochlear_, which is a _small_ spoonful.
(3) The leather tongue of a shoe.
=Lilies=, in Christian art, are the symbols of purity; the special
attribute of the Virgin Mary. They are frequent in the catacombs on the
tombs of Christian virgins.
=Lily= or =Iris Green= (It. _verde giglio_). A pigment anciently used in
Italy. It was prepared by dipping linen rags into the juice of plants,
and then preserving them dry.
=Lima=, R. (1) A file or rasp, applied to the same purposes as at the
present day. (See SCOBINA.) (2) In Med. Lat., a tool or weapon worn by
archers in the French service, either as a kind of sword or for
sharpening arrows with. (_Meyrick._)
=Limbeck=, O. F. An alembeck.
=Limbo=, O. E. Hell.
“Beholde now what owre Lord Jhesu dide one the Saturday, as sune as he
was dede. He went downe to helle to owre holy fadyrs that ware in
_lymbo_ to tyme of his Resureccione.” (_MS. Lincoln._ A. i. 17, f.
186.)
=Limbus=, R. An ornamental band or border resembling scroll-work or
architectural foliage, employed as an ornament on dress, vases
(especially on Etruscan vases), &c.; and thence (1) a ribbon worn as an
ornament in the hair; (2) the zodiacal circle described on a globe (see
Fig. 48); (3) a stout cord forming the main rope in a fishing-net; (4)
in Med. Latin, a military tunic—the German _Wapenrock_; or a wrapper
worn by soldiers round the head, _temp._ John, usually termed _cargan_.
(_Meyrick._)
=Lime.= Slaked lime, alone or mixed with pulverized white marble, was a
white pigment used in fresco-painting.
=Lime-hound=, O. E. A sporting-dog in a _lime_ or leash.
=Limen=, R. The threshold or step laid down before the entrance of a
door; the same term is also applied to the lintel. _Limen superius_ is
the lintel, and _limen inferius_ the threshold properly so called.
“Limen superum inferumque, salve!” (_Plautus._)
=Limer=, O. E. A bloodhound. “A dogge engendred betweene an hounde and a
mastyve, called a _lymmer_, or a mungrell.”
=Limitour=, O. E. A begging friar.
=Limning=, O. E. Painting, especially portrait painting.
=Limoges Enamel.= A kind of incrusted enamel on the system called
_champlevé_; perfected at Limoges, in France, in the 15th century, and
hence called _Opus de Limogia_. (See ENAMEL.) The enamels and METAL WORK
of LIMOGES, in furniture, decoration of armour, and church utensils, are
very important. The monument of Aylmer de Valence in Westminster Abbey
is Limoges workmanship.
=Limus=, R. A kind of apron bordered with a purple hem, worn by the
_popa_ or attendant who killed the animal offered at a sacrifice.
=Lincei.= An academy for natural history, founded in Rome in 1603. They
adopted the lynx for their device “because the academicians should have
the eyes of a lynx to penetrate the secrets of nature.” (_Mrs. Bury
Palliser._)
=Line of Beauty.= A curve like an elongated S. (See _Hogarth’s Analysis
of Beauty_.)
=Line of Life.= One of the lines in the hand; a term in palmistry.
=Linea=, R. (_linum_, a flax-thread). A line or any kind of string;
_linea alba_, a rope whitened with chalk and stretched across the arena
in a circus for the purpose of giving a fair start to runners, chariots,
or riders.
=Lined=, Her. (1) Having a cord attached. (2) Having a lining.
=Lineleon.= Linseed oil. “_Lineleon ex semine lini fiet._”
=Linen.= Painting on linen was largely practised in England during the
14th century; and a drawing sent by Albert Durer to Raphael is described
by Vasari as having been painted “in water-colours on a fine linen
cloth, which showed the transparent lights on both sides, without white;
water-colours only being added, while the cloth was left for the lights;
which thing appeared wonderful to Raphael.” (_Vasari_, _Vita di
Raffaello_.)
=Linen-scroll.= A decorative ornament, common in German wood-carving of
the 15th and 16th centuries. It resembles a napkin stood on end, and
partly opened into scroll-shaped cylinders.
=Linset=, O. E. The stool on which women sat while spinning.
=Linsey-woolsey= (O. E. Lylse-wulse). Coarse woollen stuff first made at
Linsey in Suffolk.
=Linstock=, O. E. (15th century). A pike, with branches on each side to
hold a lighted match for firing artillery.
=Lintel.= The stone or beam placed across a door or window overhead
(_limen superius_).
=Linteolum=, R. and Chr. (_linteum_). Any small piece of linen, such as
a napkin or handkerchief.
=Linter=, R. A flat boat, frequently formed of the trunk of a tree, used
in shallow waters for the transport of produce; it was also used in the
construction of bridges of boats.
=Linum=, R. (λίνον). Flax, and thence anything made of that fibre.
=Lion=, O. E. (from _lie on_). The main beam of a ceiling.
[Illustration: Fig. 425. Heraldic Lions.]
=Lion.= In Heraldry, the lion _couchant_ represents sovereignty;
_rampant_, magnanimity; _passant_, resolution; _guardant_, prudence;
_saliant_, valour; _seiant_, counsel; and _regardant_, circumspection.
(See LEOPARD, MARZOCCO.)
=Lioncel=, Her. A lion drawn to a small scale, generally rampant.
=Lions=, in Christian art, typify the resurrection of the Redeemer;
because, according to an oriental fable, the lion’s cub was born dead,
and in three days its sire licked it into life. The lion also typifies
solitude, and is therefore the attribute of hermits; and as the type of
fortitude and resolution it was placed at the feet of martyrs.
=Lip Moulding=, Arch. So called from its resemblance to an overhanging
lip. It is common in the Perpendicular period.
=Liquid Madder Lake= or =Rubiate=. A brilliant rose-coloured pigment,
used in oil or water-colour painting.
[Illustration: Fig. 426. Liripipes. Italian, 16th century.]
=Liripipes=, O. E. The long tails of hoods, which hung down the back.
Worn also by the Italians. (Fig. 426.)
=List=, Arch. A straight upright ring encircling the lower part of a
column, just above the torus, and next to the shaft.
[Illustration: Fig. 427. Listels.]
=List=, =Listel=, Arch. A small square moulding, also called a _fillet_.
Fig. 427 represents a base, the ornamentation of which is made up of
numerous _listels_ or fillets.
=Litany Stool.= In a church, a small low desk at which the Litany was
sung.
“The priest goeth from out of his seat into the body of the church,
and (at a low desk before the chancel door, called the _faldstool_)
kneels and says or sings the Litany.” (_Eliz._ xviii. 1559.)
=Literatus= or =Litteratus=, R. (_litera_, a letter). In general,
anything that is marked with letters; and thence (1) a slave who has
been branded on the forehead with a hot iron, also called _inscriptus_,
_notatus_, _stigmatus_. (2) A grammarian, learned man, or commentator.
=Litharge.= An ingredient of _drying oil_ (q.v.).
=Lithochrome.= Another name for CHROMOLITHOGRAPHY, or colour-printing.
=Lithography=, or drawing on stone, was invented by Aloys Senefelder of
Munich in 1796. Drawings are made on a polished surface of calcareous
stone, with ink and chalk of a soapy nature. The _lithographic ink_ is
made of tallow-soap, pure white wax, lamp-black, and a small quantity of
tallow, all boiled together, and, when cool, dissolved in distilled
water; the ingredients for the _lithographic chalk_ are the same, with a
small quantity of potash added during the boiling. After the drawing on
the stone is perfectly dry, a very weak solution of sulphuric acid is
poured over it, which takes up the alkali from the ink or chalk, and
leaves an insoluble substance behind it, while it lowers in a slight
degree the surface of the stone not drawn upon, and prepares it for the
free absorption of water. Weak gum-water is next applied to close the
pores of the stone, and to keep it moist. The stone is then washed with
water, and the printing-ink applied in the ordinary way. It then passes
through the press, the washing with water and daubing with ink being
repeated after every impression. As many as 70,000 copies have in this
way been taken from one stone, the last being nearly as good as the
first. Copper-plate and steel engravings can be transferred to stone.
(See the article “Lithography” in the _Encyclopædia Britannica_, 8th
ed.)
=Lithostrotum=, R. (λιθό-στρωτον). The pavement of a Roman road, and
thence any ornamental pavement, mosaic, incrusted marble, coloured
inlaid-work, &c.
=Litmus= or =Lacmus=. The red, violet, and blue colours known as
_archil_, _cudbear_, and _litmus_, are derived from certain lichens;
_litmus_ from the _roccella tinctoria_.
=Liturgy= (λειτουργός). The printed formulary according to which the
public services in a church are performed.
=Lituus=, R. (an Etruscan word, signifying _crooked_). (1) A brass
trumpet formed of a long, straight tube, but curved and opening out wide
at the end like a tobacco-pipe. The _tuba_ was straight, the _cornu_
spiral. (2) An augur’s staff curved into the form of a crook, with which
they divided the expanse of the sky into regions in their divinations.
=Livery= (Fr. _livrée_). Literally, the _distribution_; that is to say,
of clothes to be worn by the servants of palaces, &c. (See BADGES.)
=Livery Colours.= In the Middle Ages all great houses had their own
livery colours. Thus those of the House of York were blue and crimson,
those of the House of Lancaster white and blue, of the House of Tudor
white and green, of the House of Stuart scarlet and gold.
=Loaves=, in Christian art, are the emblems of charity to the poor; the
attribute of St. Philip the Apostle and other saints.
=Lobe= (of an arch), Fr.; Anglicé _foil_; e. g. a trefoil arch is _arc
trilobé_.
=Local Colour= is the real fundamental colour of an object, considered
apart from all accidental variations of light and reflexion.
=Locellus=, R. A box or casket; this term is a diminutive of LOCULUS.
=Lochaber Axe.= A short pole with a sharp axe at one end, an ancient
weapon of the Highlanders of Scotland.
=Locker=, Chr. Arch. A cupboard for sacred vessels generally left in the
thickness of the wall on the north side of the altar of a church. (See
SECRETARIUM.)
=Locking up.= Any process by which a colour, liable to be affected by
damp, can be rendered durable.
=Loculamentum=, R. (_loculus_, a little place). Any box, chest, or case,
the interior of which is divided into compartments.
=Loculus=, R. (dimin. of _locus_, a place). (1) A coffin, generally of
stone. (See SARCOPHAGUS.) (2) A compartment in the manger of a stable.
(3) A small chest fitted with compartments.
=Locutorium=, Chr. Of a convent, &c., the _parlour_.
[Illustration: Figs. 428, 429. Badge of Richard II. in Westminster
Hall.]
=Lodged=, Her. Said of animals of the chase _in repose_. The
illustration shows the favourite badge of Richard II.: a white hart
chained, and in an attitude of rest. “This device is repeated in
_Westminster Hall_ 83 times; and all are equally consistent with
heraldic truth and accuracy, without any of them being an exact
counterpart of any other.” (_Boutell_, _English Heraldry_.) (Fig. 428.)
=Loegria=, O. E. England. (_Geoffry of Monmouth._)
=Logan Stones= (properly _logging stones_, from O. E. _log_, to
oscillate). ROCKING STONES (q.v.).
=Logeum=, Gr. (λογεῖον). A Greek term synonymous with PULPITUM (q.v.).
=Loggia=, It. The gallery, or corridor, of a palace.
=Lombard Architecture.= “A style invented by the Lombards (Longobardi)
in the 7th century in imitation of the Roman. It continued in use till
the 10th century, and gave place to the Norman style. It is rude, heavy,
and massive, with small narrow windows.” (_Parker._) The above is only
one application of the term, which is applied by different writers to a
great number of different styles. The _Lombardesque_ style (It. _lo
stile Lombardesco_) applies to the architectural works of the family of
Pietro _Lombardo_ (15th century). The _Lombard Gothic_ is still another
style (of the 12th century).
=Loops=, =Loups=, Arch. Another name for CRENELS (q.v.), or embrasures.
=Lord.= The word is Saxon; from _hlaf_ or _klaf_, a loaf of bread; and
_ford_, to give; hence it means originally _bread-giver_.
[Illustration: Fig. 430. Gallic cuirass in the Louvre.]
[Illustration: Fig. 431. Fragment of a Gallic cuirass.]
=Lorica=, Gr. and R. (_lorum_, a thong). A cuirass; it was made either
for officers, of two γύαλα, the breast and back-pieces; or, for the
soldiers, of a number of small metal scales or bands, fastened together
with rivets or rings, and flexible. Among the Asiatics the cuirass was
frequently made of cotton; and among the Sarmatians, and other nations,
of horn.
=Lorimers=, O. E. Bit-makers.
=Lorraine Cross.= A cross with two projecting arms on each side.
=Lorraine Glass= for painted windows; obtained from the Vosges as early
as the 13th century, and then called Burgundy glass. “When any one means
to paint, let him choose the Lorraine glass, which inclines to the white
yellow because that bears the fire best, and receives the colour better
than any other.” (_Félibien_, 1619.)
=Lota.= A sacred utensil in India, used in ceremonial and other
ablutions. It is a globular bowl with a low narrow neck, sometimes
chased or engraved and incrusted.
[Illustration: Fig. 432. Lotus-flowers.]
=Lotus= (λωτός). The lotus is a frequently recurring _cyma_ in Hindoo
architecture. In Egyptian archæology, the lotus, of which two partially
opened buds may be seen in Fig. 432, was the symbol of the rising of the
sun, of fertilization, life, and resurrection. The lotus appears in the
ornamentation of the largest as well as of the smallest monuments of
Egyptian art; and is the motive of many of the columns and capitals of
the temples and palaces of a certain period, as well as of the
decoration of vases and other small objects. Three lotus-stems issuing
from a basin symbolized Upper Egypt.
=Louis d’Or=, Fr. A gold coin, value about 20_s._, first struck in 1640.
=Louis Treize Style= (Arch.), a French version of Italian art, prevailed
from 1625 to 1650, and produced _Jean le Pautre_, the ornamentist, and
the following styles:—
[Illustration: Fig. 433. Heraldic Decoration at Versailles—Louis
Quatorze.]
=Louis Quatorze=, Arch. A style of ornament developed towards the close
of the 17th century (1643–1715). It is described as “essentially an
_ornamental_ style, its chief aim being effect by a brilliant play of
light and shade; colour, or mere beauty of form in detail, having no
part in it. This style arose in Italy, and the Chiesa del Gesù at Rome
is mentioned as its type or model. The great medium of the Louis
Quatorze was gilt stucco-work, which, for a while, seems to have almost
wholly superseded decorative painting; and this absence of colour in the
principal decorations of the period seems to have led to its more
striking characteristic,—infinite play of light and shade.” (_Wornum_,
_Analysis of Ornament_.) In this style symmetry was first systematically
avoided. In the _Furniture_ of the period the characteristic details are
the scroll and shell. The classical ornaments and all the elements of
the _Cinque-cento_, from which the Louis Quatorze proceeded, are
admitted under peculiar treatment, as accessories; the panels are formed
by chains of scrolls, or a combination of the scroll and shell.
Versailles is the great repertory of the Louis Quatorze (Fig. 433), and
the designs of Watteau its finest exemplification.
=Louis Quinze=, Arch. This style (1715–74) is the exaggeration of the
Louis Quatorze, rejecting all symmetry, and introducing the elongation
of the foliations of the scroll, mixed up with a species of crimped
conventional _coquillage_ or shell-work. The style found its culmination
in the bizarre absurdities of the Rococo.
=Louvre=, Arch. The open turret in the roofs of ancient halls, through
which the smoke escaped before the introduction of modern chimneys.
=Louvre-boarding= or =Luffer-boarding=, Arch. A series of overlapping
boards sloping from the top downwards, and from within outwards, and
fixed in a framework of timber. They are placed in the apertures of
towers and belfries for the sake of ventilating the timbers, and are
sloped to prevent rain and snow from penetrating within, and to direct
the sound of the bells downwards. Sometimes the wooden boardings are
covered with lead, slate, or zinc, in order to preserve them.
=Louvre-window=, =Belfry-arch=, Arch. The large lights fitted with
louvre-boarding in belfries.
=Love-apple.= The tomato is so called.
=Love-feast.= An annual feast celebrated in some parishes in England on
the Thursday before Easter. (See _Edwards’s Old English Customs_.)
=Love-in-Idleness=, O. E. The heart’s-ease.
=Love-knot.= A complicated figure by which an interchange of affection
is supposed to be figured.
=Love-lies-bleeding=, O. E. A flower; a kind of amaranth.
=Love-lock.= A long ringlet of hair worn on the left side of the head,
and allowed to stream down the shoulder sometimes as far as the elbow.
The love-lock is mentioned in Queen Elizabeth’s reign. “Will you be
Frenchified, with a love-lock down to your shoulders, wherein you may
weave your mistress’s favour?” (_Quip for an Upstart Courtier._)
“Why should thy sweete love-locke hang dangling downe,
Kissing thy girdle-stud with falling pride?
Although thy skin be white, thy haire is browne;
Oh, let not then thy haire thy beautie hide.”
(_The Affectionate Shepheard._)
=Lovel=, O. E. A dog.
“The Ratte, the Catte, and Lovell our dogge.
Rule all England under the hogge.” (1484.)
=Low Side-window=, Arch. A peculiar small window found in many churches
near the west end of the chancel, and very near the ground. It was never
glazed, but closed with wooden or iron gratings. Its object has never
been ascertained. Most of the examples are of the 13th or 14th century.
(See _Archæological Journal_, vol. iv. p. 314.)
=Low Sunday=, Chr. The Sunday next after Easter.
=Lozenge.= In Heraldry, the diamond-shaped figure used for a shield to
display the arms of spinsters and widows. The _lozenge_ is always placed
upright on the shield, and its true proportions are as 5 to 4. (See
MASCLE.)
=Lozenge Moulding= or =Lozenge Fret=. An ornament used in Norman
architecture, presenting the appearance of diagonal ribs, enclosing
diamond-shaped panels.
=Lozenges.= A term in wood-engraving for a class of fine gravers used
for outlines and very fine shading.
[Illustration: Fig. 434. Shield of Hubert de Burgh, Earl of Kent.]
=Lozengy=, Her. A field divided lozenge-wise. (Fig. 434.)
=Lucariæ=, R. Festivals instituted at Rome to commemorate the refuge
which the Roman army had once found in a wood (_lucus_) between the Via
Salaria and the left bank of the Tiber. At the time of the invasion of
the Gauls in the year 365 B.C., the Roman army would have been entirely
cut to pieces but for this refuge.
=Lucarne=, Fr. Arch. A dormer or garret window.
=Luce=, Her. The fish now called a pike. (Fig. 380.)
[Illustration: Fig. 435. Bronze Lucerna. Roman.]
=Lucerna=, R. (_luceo_, to shine). An oil lamp of terra-cotta or bronze.
(Fig. 435.) On one side they had a handle, and on the other one or more
places for wicks (_myxæ_). The oil was poured in through an opening in
the centre. _Lucerna bilychnis_, _trilychnis_, _polylychnis_, and
_lucerna bimyxos_, _trimyxos_, or _polymyxos_, were respectively lamps
with two, three, or several nozzles, or with two, three, or several
wicks; _lucerna pensilis_ was a hanging lamp. (See Fig. 435.)
=Lucidæ=, Med. Lat. Lustrous varnishes.
=Lucifer= (_lux_, light; _fero_, to bring). The morning or evening star.
=Lucta=, =Luctamen=, =Luctatio= (Gr. πάλη, πάλαισμα, παλαισμοσύνη, or
καταβλητική). Wrestling. In the Homeric age the wrestlers contended
naked, excepting the _perizoma_ round the loins; about B.C. 720 (the
15th Olympiad) this was discarded. The Cretans and Lacedæmonians, and
afterwards the Greeks, anointed the body with oil, and then strewed it
over with sand or dust. The Lucta or Palé differed from the
_Pancratium_. In the latter, boxing and wrestling were combined, and the
contest continued until one party was killed, or unable to continue. In
wrestling, on the other hand, the victory was awarded to the man who
first threw the other three times. The most famous wrestler of antiquity
was Milo of Crotona, who flourished B.C. 509, and was seven times
crowned at the Pythian games, and six times at Olympia.
=Lucullite.= A variety of black marble, first brought to Rome from an
island at Assouan on the Nile by Lucullus.
=Ludi.= Games at festivals, or a general name for such festivals as
consisted entirely of games and contests. _Ludi circenses_ were games
held in the circus, gladiatorial and other. (See CIRCUS.) _Ludi scenici_
were theatrical representations. _Ludi stati_, like the _Feriæ statæ_,
were those held regularly on certain days marked in the calendar. _Ludi
imperativi_, on the other hand, were held by special appointment, and
_votivi_ in fulfilment of vows. The games were superintended by the
ÆDILES. The principal games will be found described under the headings
Apollinares, Augustales, Capitolini, Circenses, Compitalia, Floralia,
Funebres, Liberales or Dionysia, Megalesia, Plebeii, Sæculares, &c.
=Ludus=, R. A game or pastime; _ludus litterarius_, or _ludus_ simply,
was a school for the instruction of youth; _ludus duodecim scriptorum_,
a kind of backgammon played by the ancients; _ludus fidicium_, a music
school; _ludus gladiatorius_, a school for gladiators directed by a
_lanista_.
=Lumachel= (It. _lumachella_, a little snail). A marble full of fossil
shells, and of beautiful iridescent colours, sometimes a deep red or
orange; called also _fire marble_.
=Luna=, R. (lit. moon). An ivory or silver shoe-buckle worn by Roman
senators. (Compare LUNULA.)
=Lunated.= Crescent-shaped.
=Lunette.= (1) In Fortification, a work with two _faces_ and two flanks,
i. e. a REDAN to which flanks or lateral wings have been added; in form,
therefore, it resembles a BASTION. (2) In Architecture, a crescent or
semicircular window, or space above a square window beneath a rounded
roof. Hence the _paintings_ on such a space are called _lunettes_; e. g.
those of Raffaelle in the Vatican.
=Lunula=, R. (dimin. of _luna_). (1) An ornament in the form of a
crescent worn by women round the neck. (2) The white moon-shaped marks
at the roots of the finger-nails. (Cf. MENIS.)
=Lupatum=, R. A jagged bit with teeth like a saw (_lupus_); whence its
name.
=Lupercalia=, R. Festivals held at Rome on the fifteenth of the calends
of March (15th of February), in the _Lupercal_, a sacred enclosure or
cave on the Palatine, regarded as the den of the she-wolf who nursed
Romulus and Remus. The _luperci_ assembled together and sacrificed goats
and young dogs, with the skins of which they ran through the streets
half naked. [Lupercus, or Februus, was the god of fertility. The
festival was originally a shepherd festival; the ceremony was symbolical
of a purification of shepherds, and commemorated the time when Rome was
a nation of shepherds.]
=Lupus=, R. (lit. wolf). (1) A hand-saw. (2) _Lupus ferreus_, a huge
iron hook, lowered from the walls of a besieged place to catch the point
of the battering-ram. (See HARPAGA.)
=Lura=, R. Literally, the mouth of a large leathern sack for wine and
oil, and thence the sack itself.
[Illustration: Fig. 435 a. Hawk’s Lure.]
=Lure.= A falconer’s decoy, made of feathers on a cord, to attract a
hawk back to the wrist. The illustration is a heraldic _lure_. (See Fig.
91. See also IN LURE.)
=Lusiad.= The great epic of the Portuguese poet Camoens.
=Lustratio= (Gr. κάθαρσις). A purification, originally by water,
afterwards by solemn ceremonies of sprinkling, or the smoke of
sacrifice; made privately after deaths or accidental pollutions, and
publicly on the occasion of public disasters, prodigies, or the like;
and at certain fixed periods, especially at the close of every
_lustrum_.
=Lustricus= (sc. _dies_), R. (_lustrum_, a lustration). The day of
purification for a new-born infant, when it received its name.
=Lustrum=, R. (_luo_, to wash). A solemn purification performed by the
censors on laying down their office, that is to say, every _five years_;
whence the term was used to denote that space of time.
=Lute= (Arabic, _el oud_). A stringed instrument of great antiquity,
first mentioned in Persia in 682 A. D. Before the 10th century the lute
had only four strings, or four pairs producing four tones, each tone
having two strings tuned in unison. About the 10th century a string for
a fifth tone was added. The strings were made of silk neatly twisted.
The neck of the instrument was provided with frets of string, regulated
according to the system of seventeen intervals to an octave. The Chinese
god of music is represented playing on a lute with four strings. The
lute was very popular in England in Elizabeth’s time. Originally it had
eight catgut strings, arranged in four pairs, each pair being in unison.
The number of strings varied from time to time, and in the 17th century
they were twenty-four. The size of the lute also varied; the treble lute
was the smallest, and the bass lute the largest. There were also the
ARCHLUTE, the CHITARRONE, THEORBO, &c. (Consult Thomas Mace’s _Musick’s
Monument_, 1676.)
=Lycæa.= A festival of the Arcadians in honour of Zeus Λυκαῖος.
=Lyceium.= A sacred enclosure at Athens, dedicated to Apollo Lycius,
where the _polemarch_ originally held his court. It was decorated with
fountains, plantations, and ornamental edifices by Peisistratus,
Pericles, and Lycurgus. Here Aristotle delivered his lectures, as he
_walked about_ with his followers, hence called “_Peripatetics_.”
[Illustration: Fig. 436. Lychnus.]
=Lychnus=, =Lychnuchus=, R. (λύχνος, λυχνοῦχος). The former of these
terms is of by far the most frequent occurrence. It denotes a kind of
lantern or candlestick made to support oil lamps (_lucernæ_). Fig. 436
represents a lychnus supporting three _lucernæ_.
=Lydian.= _Of music_, soft and slow; _generally_ effeminate.
=Lydian Stone= (_Lydius lapis_ or _Heraclius lapis_) was a kind of
flinty slate used by the ancients as a touchstone for the trial of gold
and silver.
[Illustration: Fig. 437. Lymphad.]
=Lymphad=, Her. An ancient galley, the feudal ensign of the house of
Lorn, and as such quartered by the Dukes of Argyle. It is borne also by
the Prince of Wales as “Lord of the Isles.” (Fig. 437.)
=Lynx Sapphire.= A lapidary’s term for dark-grey or greenish-blue
varieties of the sapphire.
=Lyon King at Arms.= The Scotch Herald, Lord Lyon. The regalia of this
officer are, a crown of gold, with a crimson velvet cap, &c.; a velvet
robe reaching to his feet, with the arms of the kingdom embroidered
thereon, both before and behind, in the proper tinctures; a triple row
of gold chains round his neck, with an oval gold medal pendent thereto,
on one side of which is the royal bearing, and on the other St. Andrew
with his cross enamelled in proper colours, and a baton of gold
enamelled green, powdered with the badges of the kingdom.
=Lyra=, Gr. and R. (λύρα). A lyre; a stringed instrument which assumed
various forms. On Assyrian monuments the lyre occurs in three different
forms, and is held horizontally in playing. Its front bar was generally
either oblique or slightly curved. It was played with a _plectrum_ or
with the fingers. The HEBREW lyre is represented on coins of Judas
Maccabæus. Some have three strings, others five, and others six. The two
sides of the frames appear to have been made of horns of animals. The
Hebrew square-shaped lyre is probably the PSALTERION, the KINNOR, a lyre
of triangular shape, the instrument of King David, is named in the Bible
as the oldest stringed instrument, the invention of Jubal. The Rabbis
record that King David used to suspend his over his pillow at night. On
Egyptian monuments, at Beni Hassan, a Hebrew lyre is represented,
probably of the date of Joseph, 1700 B.C. The GREEKS had lyres of many
kinds, distinguished by different names; LYRA, a generic term, and also
the lyre oval at the base, to be held in the lap; KITHARA, with a square
base, to be held against the breast; CHELYS, a small lyre with body made
of tortoise-shell; PHORMIX, a large lyre, &c. Some lyres have a bridge,
others have none; the largest were probably held on or between the
knees, or were tied by a band to the left arm. The strings of catgut or
sinew were twanged with a _plektron_ or short stem of ivory or metal,
pointed at both ends. The lyre was the most favourite instrument of the
ROMANS, under various names. The CORNU had a frame ending at the top in
two long horns; the BARBITOS was a lyre with a large body; the
PSALTERIUM was of an oblong square shape, &c. The lyre is represented in
early CHRISTIAN monuments of the 4th century. In one of them the Saviour
is represented as Apollo touching the lyre. ANGLO-SAXON MSS. of the 9th
century also represent the lyre. A GERMAN fiddle of the 9th century,
with only one string, is called _lyra_ in the MS. In Christian symbolism
the lyre represented “the attractive power of the Lord.” (See MESE.)
=Lysis=, Arch. A plinth, or step above the cornice of the _podium_ which
surrounds the PEDESTAL.