[Illustration: Fig. 642. Tabard.]
=Tabard=, O. E. (Lat. _colobium_). A tunic with sleeves, worn over the
armour by knights of the Tudor period, and blazoned on the sleeves,
front, and back; it is the official costume of a herald; Chaucer’s
ploughman wears a _tabard_, like the modern smock-frock. (See COAT
ARMOUR.) Fig. 642.
=Tabaret.= A stout, satin-striped silk.
=Tabbinet=, O. E. Another name for POPLIN.
=Tabby=, O. E. A silk _watered_ or figured.
=Tabella=, Gen. (dimin. of _tabula_). A small board, or tablet, of any
kind, esp. (1) a wax-tablet; (2) a voting-tablet (_tessera_); (3) a
letter sent by a messenger (_tabellarius_); (4) _tabella absolutoria_, a
receipt for a debt; (5) _tabella damnatoria_, a judicial record of a
verdict and sentence; (6) _tabella liminis_, the leaf of a door, &c.
[Illustration: Fig. 643. Taberna.]
=Taberna=, R. (1) A retail shop; Fig. 643 shows a shop at Pompeii,
restored. (2) _Taberna deversoria_, _taberna meritoria_, or simply
_taberna_, a wine-shop or _tavern_. (Fig. 643.)
=Tabernacle Work=, Arch. The ornamented open work over the _stalls_ (of
a cathedral church, &c.), and, in general, any minute ornamental open
work is called _tabernacle work_.
=Tabernaculum=, =Tabernacle=, R. and Chr. (Lit. a tent). (1) A booth of
planks, or a wooden hut covered with hides. (2) In Christian archæology,
the _tabernacle_ is a small shrine placed on the altar for the
consecrated wafer. It succeeded the _pyx_, which was anciently deposited
in one of two chambers arranged on each side of the altar. Originally of
goldsmith’s work, in the 15th and 16th centuries they became stone
shrines decorated with sculpture, approached by steps, rising into
lanterns and pinnacles to the roof of the church. A cast of a beautiful
tabernacle of late 15th century, marble with a gilt metal door, is in
the South Kensington Museum. Tabernacles of ivory were common in the
16th century. (3) Ornamental niches in a hall. (4) Accurately applied
the term signifies a _canopy_, (of stone, wood, or other material) such
as was placed over a NICHE, a stall, &c.
=Tabernula.= Dimin. of TABERNA (q.v.).
=Tabinet.= (See TABBINET.)
=Tabl shamee=, Egyp. The Syrian drum, used by the modern Egyptians; a
kind of kettle-drum of tinned copper, with a parchment face.
=Tablature=, Fr. One part of a painted wall or ceiling, forming a single
piece or design.
=Table=, O. E. The ancient meaning of this word was “any level expanded
surface,” such as a flat piece of board. A picture was called a table
(Latin _tabula_) as late as the 17th century. (See TABULA.)
=Table-base=, Arch. A BASE MOULDING, near the ground, immediately over
the plinth.
=Table Diamond.= A gem cut with a flat surface.
=Tablementum=, Arch. Synonym of TABULA.
=Tables=, O. E. (1) Backgammon. (2) Ivory writing-tablets, so called,
were used in the middle ages in England by people of all ranks:—
“His felaw had a staff tipped with horn,
A pair of _tables_ all of ivory,
And a pointed ypolished fetishly,
And wrote alway the names, as he stood
Of alle folk that gaue hem any good.”
(_Chaucer._)
=Tablet.= (Fr. _tablette_.) Any flat surface for inscriptions; leaves
for memoranda.
=Tablets.= In architecture a general term for small projecting mouldings
or strings, mostly horizontal. The tablet at the top, under the
battlement, is called a _cornice_, and that at the bottom a _basement_,
under which is generally a thicker wall. The tablet running round doors
and windows is called a _dripstone_, and if ornamented a _canopy_.
(_Rickman_, p. 42.)
=Tabletterie=, Fr. Turned work in ivory or shells, &c.
=Tablinum=, R. One of the apartments in a Roman house; it was a recess
in the ATRIUM, and contained the wax or ivory portraits and statues in
bronze and marble of ancestors, and carved representations of their
honourable achievements in the state, and the family archives. (See
DOMUS.)
=Tabor=, =Tabour=, O. E. A very loud drum “which is bad for people’s
heads, for, if stretched tight and struck hard, it may be heard at half
a league’s distance.”
=Tabouret.= An embroidery frame.
=Tabret=, Heb. A small _tabor_.
=Tabula=, R. and Chr. (1) Literally, a _plank_, and thence used to
denote a variety of objects made of wood or planks, as for instance a
bench; a dice-table; a waxed writing-tablet (_tabula cerata_); a
panel-painting; a votive-tablet; a voting-ticket. (2) Arch. Properly any
solid construction adapted for superficial decoration, as the _frontal_
of an altar. “The most remarkable example of the _tabula_ destined for
the front of the Altar, is preserved in Westminster Abbey; it is formed
of wood, elaborately carved, painted and enriched with a kind of mosaic
work of coloured glass, superficially inlaid, a species of decoration of
Italian origin.” (Consult _Parker’s Glossary_ s.v.) (3) In Christian
archæology, _tabulæ nuptiales_ or _dotales_ was the name given to the
parchment scrolls in the hands of persons who figure in the marriage
scenes represented on tombs.
=Tabularium=, R. A place set apart in the temples at Rome where the
public records were kept.
=Tace=, Chr. The cross or crutch of St. Anthony.
=Taces.= (See TASSETS.) The _skirts_ or _coverings_ to the pockets.
(_Meyrick._)
=Taces.= Overlapping plates of armour to envelope the abdomen (see
TACHES), introduced in the 14th century, under Richard II.
=Tack= or =Dag=, O. E. A kind of pistol: something like a _petronel_.
=Tæda= or =Teda=, R. A resinous torch made with pieces and slips of the
pine called _teda_.
[Illustration: Fig. 644. Tænia.]
=Tænia=, Gr. and R. (1) The ribbon with which a wreath or fillet round
the head was attached. (2) In architecture, the band which separates the
Doric frieze from the architrave; it is, in many cases, ornamented with
painting similar to that shown in Fig. 644.
=Taffeta= (Pers. _taftah_, from _taftan_, to twist). A thin, glossy
silken fabric, having a wavy lustre; a less costly silk than CENDAL
(q.v.), 16th century. _Stow_ records that it was first made in England
by John Tyce, of Shoreditch, London, 41 Elizabeth, 1598.
=Taille de bois=, Fr. Wood-engraving.
=Taille douce=, Fr. Copper-plate engraving.
=Taille dure=, Fr. Steel engraving.
=Tail-piece.= An ornamental design placed at the end of a page or
chapter of a book. In French _cul-de-lampe_.
=Takel=, O. E. An arrow,—
“Wel could he dress his _takel_ yeomanly.” (_Chaucer._)
=Talaria=, R. (_talus_, the ankle). Wings fixed to the ankles; the
attribute of Mercury, Perseus, and sometimes Minerva. They are
represented either attached to sandals, or growing from the limb.
=Talbot=, Her. A badge of the Earl of Shrewsbury of that name (the
“Scourge of France”). A silver running hound or _talbot_.
=Talbotype.= The photographic process of multiplying impressions from a
_negative_, invented by Mr. Fox Talbot. (See CALOTYPE.)
=Talc= (from Germ. Talg, tallow). A translucent mineral, resembling
_mica_ but much softer, “being calcined and variously prepared, it
maketh a curious whitewash, which some justify lawful, because clearing
not changing the complexion.” (_Fuller._) The Chinese make lanterns,
shades, and ornaments of talc.
=Talent=, Gr. and R. (τάλαντον, lit. a balance). A weight of silver with
the Greeks, and of copper with the Romans; applied as a unit of value.
The GREEK talent of silver is estimated at rather less than 250_l._
sterling—it contained 60 _minæ_, or 6000 _drachmæ_. The ATTIC talent was
of much smaller value, of less than an ounce of gold, and is that
generally intended by the word. The silver talent was called _talentum
magnum_. The JEWISH talent of silver = about 396_l._, and of gold =
about 5475_l._ From its application as an expression of a man’s
available wealth, metaphorically applied _in Scripture_ to resources of
any kind, as of intellect, position, &c., for the due unselfish
administration of which he is responsible.
=Talero=, It. A Venetian silver coin = about five francs.
=Talevas=, =Talvas=. (See TAVOLACE.)
=Tali=, R. (Gr. ἀστράγαλος). Knuckle-bones of sheep or goats, used from
the earliest times, exactly as they are by children now, to play with.
When they were marked with black dots on each face they were used as
dice. The numbers were 1, 3, 4 and 6; 1 being opposite to 6, and 3
opposite to 4; and each number, and each cast, had its appropriate name:
1 was called in Greek μονὰς, εἷς, κύων, Χῖος; Ionic οἴνη; Latin, _unio_,
_vulturius_, _canis_; 3 was τριὰς, and _ternio_; 4, τετρὰς, and
_quaternio_; 6, ἑξὰς, ἑξίτης, Κῷος, and _senio_. The best throw was that
called _Venus_ or _jactus Venereus_, in which the four _tali_ showed
different numbers. By this cast the player became king of the feast or
symposium; in the _canis_ (dog-throw), on the other hand, all four dice
turned up the same number.
=Talisman= (Arab, tilsam, a magical image). A charm worn about the
person as a protection from dangers, especially from the effects of
magic and the “evil eye.” The _bullæ_ worn by children, and the rings of
the ladies among the Greeks and Romans frequently contained such charms.
The practice has survived in all ages and nations, and is not at all
unfrequent in the 19th century, and even among the educated classes.
=Tall-boys=, O. E. High cups or glasses.
=Tall-men=, O. E. Loaded dice.
=Tall-wood=, O. E. “Pacte wodde to make byllettes of, _taillee_.”
(_Palsgrave._)
=Talleh=, Arab. Myrrh from Abyssinia.
=Tallow-cut= (Fr. _en cabuchon_). This is a term applied by lapidaries
to precious stones not cut into regular _facets_, but ground down and
polished.
=Tally=, O. E. (Fr. _tailler_, to cut.) An ancient method of keeping
record of monies advanced to the Royal Exchequer. A _tally_ was a piece
of wood inscribed with a receipt, which was split by an officer, and one
part delivered to the lender, and the other, called the _Stock_,
preserved in the Tally-office in the Exchequer. Hence the name Stocks
for the Government securities. After the disuse of the tallies in 1782
the old ones were used for firing in the Houses of Parliament, and
caused their destruction in 1834.
=Talmud= (Chaldean, lit. instruction,) consists of two parts, the MISHNA
and GEMARA; and contains the whole body of Hebrew law and traditions.
=Talus.= (1) R. The game of knuckle-bones. (See ASTRAGALUS.) (2) Arch.
The sloping part of a work, a term in fortification.
=Talvace=, O. E. A shield or buckler, circular and projecting.
=Talvas=, O. E. An oblong _wooden shield_, 14th century.
=Tambour=, Fr. A small drum. Rich embroidery work done on a drum-shaped
frame.
=Tamboura.= An ancient musical instrument of the lute or guitar kind.
The Hindoos represent Ganesa, the god of wisdom, as a man with the head
of an elephant, holding a tamboura in his hands.
=Tambourine.= A small drum with only one skin, played on by the hand.
=Tamine=, =Taminy=, =Tammy= (Fr. _tamis_, a sieve). A thin woollen
textile, highly glazed.
=Tampion.= (See TOMPION.)
=Tang-fish.= Seals are so called in the Shetlands.
[Illustration: Fig. 645. Flemish Tankard, silver-gilt. 17th century.]
=Tankard.= (Norman Fr. Tankar.) A drinking-jug with a cover. The name is
said to be compounded of _étain_, tin, and _quarte_, a quart measure.
The Flemish had tankards of wood, with pegs down the sides, to measure
the quantity drunk. (See Figs. 615 and 645.) (See POKAL.)
=Tapestry.= The introduction of _tapestry_ properly so called dates from
the 12th century, when it began to rival the more ancient embroidered
stuffs called _Sarrazinois carpets_. Tapestry is woven on looms, i. e.
on a _warp_ rolled round two cylinders, and stretched out between them
either vertically or horizontally, for the insertion of the _woof_
between and among the threads. When woven on a vertical warp, it is
called high-warp (_haute-lisse_); when horizontal, low-warp
(_basse-lisse_). The former produces, for many reasons, incomparably the
finest work, and is the method adopted for the Gobelins and Savonnerie
tapestries. The progress of the art has followed, especially in
Flanders, that of painting, from which its models are derived. It has
become less popular than it was during the present century, from the
general disuse of hangings in the decoration of houses. Perhaps the best
condensed account of this extensive subject is the work of M. Alfred de
Champeaux, translated for the South Kensington Museum. (See BAYEUX
TAPESTRY.)
=Tapul=, O. E. The perpendicular ridge down the centre of a breastplate.
=Tar-black.= A kind of _lamp-black_ prepared by the combustion of coal
tar, or of the heavy oils of tar and schist.
=Targe=, Fr. Med. A dagger or small sword: “Les autres gens avoient
_targes_ et _semitarges_, qui sont espées de Turquie.” (See SEMITARGE.)
=Targe= or =Target=, O. E. A round shield.
=Targe= (or =Pavoise=) =Futée=, Fr. A shield composed of several pieces,
which loosened on being struck, and fell asunder. The Swabian jousters
at Maximilian’s triumph are described (_Meyrick_, vol. ii.) as bearing
these shields.
=Targe=, =Target=. (Welsh _targa_, wicker-work.)
=Targum=, Chaldee (lit. interpretation). A paraphrase, or lesson from
the Old Testament in the Chaldee language.
=Tarn.= A mountain lake.
=Tarots.= Emblematical cards still used in Switzerland and parts of
Germany. “They are unknown, except as curiosities, to the Parisians and
to ourselves; but they are, nevertheless, the sole representatives of
the original cards which the Gipsies brought with them into Europe.”
(_Rev. E. S. Taylor._)
=Tarpaulin.= A tarred _palling_ or covering.
=Tars, Cloth of.= A web of silk and the downy wool of goats of Tibet,
the forerunner of _cashmere_.
=Tarsia= or =Intarsia=. A kind of mosaic in woods; representing views of
buildings and ornament of various kinds, by inlaying pieces of wood, of
various colours and shades, into panels of walnut wood.
=Tarsus.= In _Anatomy_, the instep and socket of the ankle-bone.
=Tartan=, Fr. (_not_ Gaelic). The Highland plaid, the dress of the
Scottish Highlanders, said to be derived from the Celta; the _Galli non
braccati_.
=Tartarium.= Cloth of Tars was a costly cloth of royal purple, probably
a mixture of silk and goat’s hair from Thibet. It is mentioned by
Chaucer:—
“His coat armure was of cloth of Tars,
Couched with perles.”
=Tas= or =Tats=, Egyp. Amulets of gilded sycamore wood, cornelian,
jasper, glass, &c., found suspended from the necks of mummies.
=Tassel-gentle=, O. E. (for tercel-gentle). A species of hawk.
(_Shakspeare._)
=Tasses.= Flaps of armour attached to the bottom of the breastplate for
the protection of the thighs.
=Tat= or =Dad=, Egyp. A sculptor’s stool; a religious emblem worn by
gods and sacred animals round the neck. The term was also probably a
name of Mendés.
=Tau=, =Taucross=. (1) Her. A cross formed like the letter T, so called
in Greek. This charge is also called the Cross of St. Anthony. (2) Chr.
As a motive for ornamental design the _tau_ is the ancient form of the
episcopal staff as represented in the catacombs. Originally curved like
the pagan _lituus_, it became in the 8th century straight. The Taus were
often hollowed to contain relics, &c. (Consult _Ivories_, by _W.
Maskell_, pp. 84, 85.)
=Tauntons.= A kind of broad cloth made at Taunton in Somersetshire.
=Tavolace= or =Talevas= (It. _tavolaccio_). A large thick wooden shield;
like a _table_ (_tavola_) of wood (hence its name), 15th century.
=Tawdry.= Showy. The word is _said_ to be derived from _Ethelreda
torquem_, St. Ethelred’s necklace, which was composed of rows of twisted
lace, an ornament much used by Anglo-Saxon ladies. (_Stormont._)
=Tawdry Lace.= A kind of fine lace alluded to by Shakspeare, Spenser,
&c. (_Halliwell._)
“Fimbriæ nundinis sanctæ Ethelredæ emptæ.” (_Coles._)
=Tawney=, O. E. A deep orange colour, used in the Middle Ages as a
_livery_ colour.
=Tawney Coat=, O. E. The dress of summoner or apparitor. (_Shakspeare._)
=Taxidermy.= The art of preserving the skins of animals.
=Tazza=, It. An ornamental cup or vase, with a flat shallow bowl,
standing on a foot, and with handles.
=Tchy=, Chinese. Twelve recurrent periods of the cycle of sixty years,
represented by animals assigned to the twelve months, i. e. the signs of
the Chinese Zodiac. They are: November, the _rat_; December, the _ox_;
January, the _tiger_; February, the _rabbit_; March, the _dragon_;
April, the _serpent_; May, the _horse_; June, the _hare_; July, the
_ape_; August, the _hen_; September, the _dog_; October, the _boar_. The
above are accordingly frequent accessories of designs on porcelain.
=Te Deum=, Chr. The first words and title of a hymn composed by St.
Augustin and St. Ambrose about 390.
=Tegillum=, E. (dimin. of _tegulum_, a roof). A short mantle with a
hood, made of a coarse material; worn by country people and fishermen.
=Tegula=, R. (Gr. κέραμος; Lat. _tego_, to cover). A roofing tile;
originally of baked clay or wooden shingles. At an early date (620 B.C.)
tiles of marble were introduced, and were followed by tiles of gilded
bronze; _per tegulas exire_ means to go out by the opening in the roof
of the atrium, the compluvium.
=Teheran Ware.= An inferior Persian majolica.
=Tela=, R. A loom, an essential adjunct to every large establishment in
ancient Rome; _tela jugalis_ was the simplest description of
weaving-loom. The _warp_ was called _stamen_ from its upright position;
the _woof_ subtegmen or trama. In Greek στήμων and κρόκη.
[Illustration: Fig. 646. Telamon.]
=Telamones=, R. Figures of men, which were employed in lieu of columns
to support an entablature. (See ATLANTES.) (Fig. 646.)
=Temo=, R. The pole of a carriage, waggon, plough, &c.
=Tempera Painting.= Painting with pigments mixed with chalk or clay, and
diluted with weak glue or size; chiefly used in scene-painting and
decoration. (See DISTEMPER.)
=Templars.= An order of knighthood introduced about A. D. 1118, and
suppressed A. D. 1309. They wore a red Maltese cross on a white field,
and bore a _banner_ showing that cross on a white field; and a second
banner of black and white called Beau Séant, this word Beau Séant being
their battle-cry. Their _badges_ were the AGNUS DEI, or Lamb and Flag;
and a device representing two knights on one horse, indicating the
original poverty of the order. This is blazoned in modern times as a
_pegasus_, the two knights being mistaken for wings on a _flying horse_.
=Template.= (1) A model in thin board of an ornament to be produced in
sculpture. (2) A short timber under a girder.
=Temple.= (See TEMPLUM.)
=Temple Church=, London—a round church—is a representative specimen of
the transition period of architecture in England from the NORMAN to the
EARLY ENGLISH. “The Eastern part is a most excellent specimen of plain
light Early English, and its growing and slender piers are perhaps
unequalled.” (_Rickman, Architecture in England_, &c.)
=Templet.= (See TEMPLATE.)
[Illustration: Fig. 647. Templum in antis.]
=Templum=, =Temple=, R. (τέμνω, to cut off). A Greek temple was not
originally intended for worshippers, but as a shrine for the gods. In
the earliest times the Greek temples were made of wood, and the
primitive origin of them was probably a hollow tree in which the image
was placed as in a niche. The early Greek temples were dark and gloomy,
having no windows, but lighted through the door, or by lamps. At a very
early stage in history, temples of great grandeur and beauty are
mentioned. All temples were built in an oblong or round form, and were
mostly adorned with columns; they were classified accordingly as
_astyle_, without any columns; _in antis_, with two columns in front,
between the _antæ_; _prostyle_, with four columns in front; or
_amphiprostyle_, with four columns at each end; _peripteral_, with
columns at each end and along the sides; or _dipteral_, with two ranges
of columns all round, one within the other, &c. They were also described
according to the number of columns in the porticoes, as _tetrastyle_,
_hexastyle_, _decastyle_, &c.,—this number was never uneven; or
according to the intercolumniation, as _pycnostyle_, _systyle_,
_eustyle_, _diastyle_, or _aræostyle_. Many of the great temples
consisted of three parts: the _pronaos_ or vestibule; the _cella_,
properly the _naos_; and the _opisthodomos_.
=Tendrils= of a vine or other creeping plant, with which it clasps the
objects that support it, furnish abundant suggestions for ornamental
designs in scroll-work.
=Tenebrosi.= A school of Italian artists who devoted their attention to
striking _Rembrandt_ effects of light and shade; represented by
Caravaggio.
=Tenent=, =Tenant=. A term in French heraldry applied to human figures
as SUPPORTERS.
=Tennée= or =Tawney=, Her. A deep orange colour, indicated by vertical
lines crossing PURPURE.
=Tenon.= The end of a piece of wood, shaped to fit into another piece.
=Tenor.= In Music, a high male voice.
=Tensa= or =Thensa=, R. A triumphal car, probably in the form of a
platform on wheels, and richly decorated, upon which the images of
certain gods were paraded during the Circensian games. The ceremony was
regarded as one of the highest solemnity, and the car was escorted by
the senators in robes of state, who helped to drag the carriage or to
lead the horses, with thongs attached for the purpose.
=Tenture=, Fr. Paper or tapestry hangings.
=Tepidarium=, R. (_tepidus_, lukewarm). (1) A warm room in a bath; used
as a preparation for the SUDATORIUM. (2) The vessel in which the water
was heated.
=Tercel=, O. E. The male hawk. (_Shakspeare._)
=Terce major.= A sequence of three best cards.
=Terebenthina.= Turpentine.
=Terebra=, R. (_tero_, to rub or wear away). (1) Any tool used for
boring, such as a drill, a gimlet, an auger, &c. (2) A mechanical ram
contrived to pierce the walls of a fortification.
=Terginum=, R. (_tergum_, the back). A leathern lash used for flogging
slaves.
=Terminal Figures.= Statues of the god Terminus. (See TERMINI, HERMÆ.)
=Terminalia=, R. Festivals in honour of Terminus the god of boundaries;
they took place yearly on the eighth day of the calends of March (23rd
of February), which was the last day of the old Roman year.
[Illustration: Fig. 648. Terminus.]
=Termini=, =Terms=, R. The statues of the god TERMINUS, which consisted
merely of posts or pillars for landmarks, were crowned with garlands by
the proprietors of co-terminous lands.
“When Tarquin the Proud desired to build a temple to Jupiter upon the
Tarpeian rock, he begged all the inferior divinities to give up the
altars they had upon the rock in favour of the master of them all. All
the gods cheerfully consented except Terminus. This Terminus,
therefore, who refused to yield to Jupiter, was chosen by Erasmus for
his haughty device, with the motto _Cedo nulli_.” (_Mr. Palliser_,
_Historic Devices, &c._) (See Fig. 648.)
=Terra-cotta=, It. Baked clay; largely used in architectural ornament.
=Terra da Boccali=, It. (See TERRA DI LAVA.)
=Terra di Lava=, It. A clay which was anciently used in combination with
charcoal to form a white ground for the reception of oil colours.
=Terra di Siena.= An ochreous earth producing a yellow and a deep orange
pigment; useful for oil and water-colour painting. (See SIENA.)
=Terra Nera.= Black earth; an ancient pigment.
=Terra Verde.= (See GREEN EARTH.)
=Terraglia.= (See POTTERY.)
=Terretta=, It. (See TERRA DI LAVA.)
=Terry Velvet.= A kind of silk plush or ribbed velvet.
=Tertiary Colours=, produced by the mixture of two secondary colours,
are _greys_, inclining to the primary or secondary colour which is in
excess in their composition. (Consult _Chevreuil on Colours_.)
=Teruncius=, R. A silver coin equal in value to one-fourth of an as.
=Tessela=, R. (diminutive of _tessera_). A small cube of stone or marble
used for making mosaic pavements (_tesselatum opus_ or _tesselata
structura_).
=Tesselated pavement.= Inlaid or mosaic work composed of _tesselæ_.
_Tesselatum flagrum._ (See FLAGRUM.) Cf. MUSIVUM OPUS. (Consult _Buckman
and Newmarch_, _Remains of Roman Art in Cirencester_.)
=Tessera=, R. (Gr. κύβος). A cube, a die; _tesseræ_, _tesseræ lusoriæ_,
dice of ivory, bone, or wood; the dice-box is _fritillus_. (Compare
TALUS.) _Tessera hospitalis_ was an oblong token of wood or earthenware,
exchanged among families agreed to mutual hospitality. Many of these
tokens have the bust of Jupiter Hospitalis impressed; _tessera
theatralis_, a pass to the theatre; _tessera militaris_ (Gr. σύνθημα), a
tablet on which the watch-word or war-cry of the day was written; it was
passed about the ranks before joining battle. _Tesseræ frumentariæ_ or
_nummariæ_, vouchers for bread or money distributed by the magistrates
among the poor. (Cf. TESSELA, TALUS, TABULÆ.)
=Testa=, R. A sherd of tiles or pottery, and thence an earthenware vase.
=Testaceum=, R. (_testa_). Made of tiles; the term was used to denote a
roofing or pavement made with the fragments of broken tiles.
=Tester.= (1) Any flat _canopy_. The framework over a four-post
bedstead. (2) A silver coin so called from the head (_teste_) of the
king upon it. In the reign of Henry VIII. it was worth 12_d._ and
afterwards 6_d._ French testers were struck by Louis XII. in 1513, and
Scotch under Queen Mary in 1559.
=Testière=, Med. Fr. Originally, mailed armour for a horse’s head,
subsequently a plate between the ears on which a crest was fixed. (See
CHANFRON.)
=Testif=, Fr. Camel’s hair.
=Testudinatus=, R. Made in the form of a TESTUDO (q.v.); the term was
applied either to a roof or a ceiling.
=Testudineus=, R. Made with tortoise-shells.
[Illustration: Fig. 649. Testudo.]
=Testudo=, R. (_testa_, a shell). (1) A tortoise, and thence a lyre of
which the sounding bottom was made out of a tortoise-shell. (2) In
Architecture, an arched ceiling, the four sides of which converge to a
centre. (3) _Testudo arietaria_ was a movable wooden shed covered with
skins and containing a battering-ram (Fig. 574). (4) Lastly the term
denoted a kind of defensive roof formed by the shields of soldiers when
advancing to the foot of a rampart (Fig. 649).
=Tetra-chordon=, Gr. and R. (τετρά-χορδον). Literally, having four
strings; _hydraulos tetrachordon_ was a hydraulic organ with four pipes.
=Tetra-comus=, Gr. A banqueting-song sung at the festival of Bacchus
during the fourth course (κῶμος).
=Tetra-doros= (sc. _later_), Gr. A peculiar kind of brick described by
Vitruvius; it was called from its measuring four hand-breadths.
=Tetra-drachmum=, Gr. (τετρά-δραχμον). An Attic silver coin of the value
of four _drachmæ_, or about 3_s._ 3_d._
=Tetra-foliated=, Arch. Said of any architectural decoration showing
four foils.
=Tetragon.= A plane figure having four angles; a four-sided figure.
=Tetra-morph=, Chr. (Gr. τέσσαρα, four; μορφὴ, shape). The union of the
four attributes of the Evangelists (the angel, eagle, lion, and ox), in
one figure, e. g. as a woman crowned and seated on an animal which, with
the body of a horse, has the four heads of the mystic creatures; and of
the four feet one is human, one hoofed for the ox, one clawed like an
eagle’s, and one like a lion’s; underneath is inscribed _Animal
Ecclesiæ_.
=Tetra-style=, Gr. and R. (τετράστυλος). Having four columns. (See
TEMPLUM.)
=Tetra-vela=, Lat. “The veils or curtains placed between the pillars
which supported the canopy of the altar, at the sides and in front, and
which were drawn round it when the priest was not officiating.”
(_Fairholt._)
=Teutonic Order.= A military order of knights, established in the Holy
Land about 1191. They first subdued and Christianized Prussia.
=Tewel=, Arch. (From the French _tuyau_.) A pipe or flue to convey
smoke; it is mentioned by Chaucer:
“... Soche a smoke gan out wende
Blacke, blue and greenish, swartishe, rede,
As doith where that men melte lede,
Lo! all on hie from the _tewell_.”
(_House of Fame._)
=Textile=, R. (_texo_, to weave). Woven. Anything capable of being
woven.
=Texture.= In Art, the _surface_ appearance of a representation not of
textiles only, but of the other parts of a picture—wood, marble, skin,
hair, &c. Gerard Dow excels in _texture_.
=Thalamifera=, Gr. A term applied, in describing ancient sculpture, to
kneeling figures supporting tablets, on which figures of the gods or
inscriptions are carved.
=Thalamus=, Gr. and R. (θάλαμος). The nuptial chamber in a Roman house;
the others were called DORMITORIA.
=Thalysia=, Gr. (θαλύ-σια). Greek festivals of the harvest and vintage.
=Thargelia=, Gr. (θαργήλια). Very ancient festivals held at Athens on
the occasion of a plague or other public disaster in honour of Apollo
and Artemis; in which two persons, generally criminals, were put to
death for the _purification_ of the city.
=Thaumaturgi=, Chr. (θαυματο-εργός). Workers of miracles.
=Theatrum=, =Theatre=, Gr. and R. (θέατρον, lit. a place for seeing).
The construction of the ancient GREEK theatre was similar to that of
modern theatres. The seats rose one behind and above the other in
concentric half-circles, and the whole space enclosed was called
_cavea_, the pit, being in most cases a real excavation from the rock.
The central level space within and below the circles for spectators was
covered with boards, upon which the _chorus_ danced and performed their
part. This was the ORCHESTRA, the central point of which and of the plan
of the whole building was the THYMELE, or altar of Dionysus. This altar
became a _property_ of the piece, doing duty as a funeral monument, an
altar, or a pulpit for the leader of the chorus or flute-player,
according to the nature of the performance going on, in which it must be
remembered that the part assigned to the _chorus_ in the orchestra below
was quite as important as any other, and in its original intention was
in fact the centre of interest, to which the performance on the stage
was _accessory_. The whole theatre and orchestra were open to the sky.
The cavea of the former accommodated about 50,000 spectators. The
arrangements of the stage were elaborate and ingenious, and the art of
_scene-painting_ developed at a very early period. The ROMAN theatre
differed from the Greek principally in the absence of an _orchestra_,
that space (the modern _pit_) being used for the seats of senators,
foreign ambassadors, &c. Remains of ancient theatres still exist in
Greece, Italy, and France. The most perfect of these are the Colosseum
at Rome, and the amphitheatre at Nismes.
=Theca Calamaria=, Gr. and R. (θήκη; τίθημι, to put into). A portable
inkstand.
=Thenard’s Blue.= (See COBALT.)
=Thensa.= (See TENSA.)
=Theo-gamia=, Gr. (θεο-γάμια). Greek festivals held in honour of
Proserpine and commemorating her marriage with Pluto.
=Theorbo.= A stringed musical instrument; a kind of lute, having
supplementary strings by the side of the finger-board.
=Thermæ=, Gr. and R. (θέρμαι, lit. hot-springs). Distinguished from
_balneæ_. The luxurious establishments for bathing, gymnastics, and
conversation which grew up under the Roman Empire, on which all the
resources of architecture and decorative art were lavished. The ruins of
the _thermæ_ of Titus, Caracalla, and Diocletian are still visible. They
contained, besides the baths properly so called, “_exedræ_ for
philosophers and rhetoricians to lecture in, _porticoes_ for the idle,
and libraries for the learned, and were adorned with marbles and
fountains, and shaded with walks and plantations.”
=Thermography.= A chemical process for copying prints and drawings upon
paper or metal by the agency of _heat_ without light.
=Thermopolium=, R. (θερμο-πώλιον). A refreshment-room, in which warm
drinks were sold, such as mulled wine, mead, &c.
=Thermulæ= (dimin. of _thermæ_). Baths on a small scale.
=Thesaurus=, Gr. A treasure-house. In the monuments of the heroic period
many subterranean buildings of great extent and peculiar construction
have been attributed to this purpose; but they may more probably have
been sepulchral. In historical times the public treasures were in the
_agoræ_ or the temples. (See ÆRARIUM.)
[Illustration: Fig. 650. Part of the Frieze of the Temple of Theseus,
Athens.]
=Theseum.= An Athenian temple built in the 5th century B.C., to receive
the bones of Theseus. It was richly ornamented with statuary and
sculpture. The former has been destroyed; but some metopes and
sculptured friezes in high relief remain, of which castings exist in the
British Museum. Our illustration represents an incident of the “Battle
of the gods and the giants,” and is remarkable for anatomical precision.
In these sculptures Greek art has entirely emerged from the _archaic_
stage, and they were doubtless the inspiring models for Pheidias and his
contemporaries, and the forerunners of the Parthenon sculptures. (See
ELGIN MARBLES.)
=Thesmo-phoria.= Greek festivals of women and maidens in honour of
Demeter, in commemoration of the traditions of civilized life. The
solemnities opened with processions of women bearing on their heads the
books of the sacred laws (ascribed to Demeter). On the second day, of
fasting and mourning, the women remained all day grouped round the
statue of Demeter in the temple, taking no other food than cakes of
sesame and honey, and in the afternoon walked barefoot in procession
behind a waggon on which baskets with mystical symbols were borne to the
_thesmophorion_. On the third day they commemorated the smiles of
Demeter, under the epithet of καλλιγένεια.
=Thibet Cloth.= A fabric of goat’s hair; called also _camlet_.
=Thick-pleached=, O. E. Thickly interwoven. (_Shakspeare._)
=Thieves’ Vinegar.= A kind of aromatic vinegar for a sick-room,
consisting of the dried tops of rosemary, sage-leaves, lavender-flowers,
and bruised cloves, steeped in acetic acid and boiling water. It derives
its name and popularity from a story that thieves who plundered the dead
bodies during the plague with perfect security, attributed their
impunity to the use of this disinfectant. (_Simmonds’ Commercial
Dictionary._)
=Thimbles= are said to have been found at Herculaneum. The manufacture
was introduced into England, from Holland, about 1695.
[Illustration: Fig. 651. Badge of the Thistle.]
=Thistle=, Her. The national badge of Scotland represented after its
natural aspect and tinctured proper. The Order of the Thistle of
Scotland was instituted a long time before the union of the two kingdoms
(commemorated in the badge selected by James I. of the rose and thistle
combined). (Fig. 293.) The badge or jewel is of gold enamelled, having a
figure of St. Andrew holding his silver saltire and surrounded by rays,
and an oval border with the motto. It is borne from the collar of the
order formed of thistles alternating with bunches of rue sprigs, or on a
dark green ribbon across the shoulder. The order of the _Ecu d’Or_,
instituted by Louis of Bourbon (1410), had also a _thistle_ in the jewel
and girdle.
=Tholus=, Gr. and R. (θόλος). A dome and cupola of a circular building.
=Thorax=, Gr. (θώραξ). (1) A breastplate; Latin LORICA (q.v.). (2) A
bust of wax, marble, or bronze.
=Three-pile=, O. E. Rich velvet.
=Three-quarter.= A size of portrait; 30 inches by 25. (See PORTRAIT
PAINTING.)
=Thrones=, Chr. An order of angels, usually represented with double
wings, supporting the Throne of the Almighty in ethereal space.
=Through-stone= or =Throwstone=, O. E. (variously spelt, derived from
Anglo-Saxon, _thruh_, a coffin.) A flat grave-stone. Parker gives in his
“Glossary” the following quotation:—
“Over the midst of the said vault did lie a fair _throwstone_, and at
each either side of the stone it was open, through which were cast the
bones of the monks whose graves were opened for other monks to lie in;
which vault was made to be a charnel-house to put dead men’s bones
in.”
(_Ancient Rites of Durham._)
[Illustration: Fig. 652. Thurible. An Arabic incense-burner in brass,
inlaid with silver.]
=Thurible=, Chr. An incense-burner. Generally of bronze. The practice of
burning incense in religious functions is very ancient, and originated
in the East. The illustration (Fig. 652) is a beautiful specimen of
Arabian work devoted to this object.
=Thurles=, O. E. (holes through the wall). The small windows of a house;
12th century.
=Thyas= or =Thias=, Gr. A Bacchante, the Greek equivalent for the Latin
BACCHA.
=Thymela=, =Thymelê=, Gr. (θυμέλη). (Literally, a place for sacrifice.)
An altar placed in the orchestra of a Greek theatre and dedicated to
Bacchus.
=Thyroma=, Gr. (θύρωμα). A synonym for the Latin JANUA (q.v.).
=Thyrsus=, R. (θύρσος). A long staff, surmounted with a fir-cone, or a
bunch of vine-leaves or ivy, with grapes or berries, carried by Bacchus,
and the satyrs, mænads, and others, during the celebration of religious
rites. Beneath the garland or fir-cone the thyrsus ends in the sharp
point of a spear, a puncture from which induces madness.
=Tiara=, Gr. (τιάρα). A hat with a tall high crown; the characteristic
head-dress of the north-western Asiatics; especially the Armenians,
Parthians, Medes, and Persians. _Tiara recta_ or cidaris was an upright
tiara, the regal head-dress of Persia. _Tiara Phrygia_ was a synonym for
MITRA. Fig. 653 represents the head-dress and costume of a Persian
soldier.
[Illustration: Fig. 653. Persian soldier wearing the _tiara_.]
=Tiara=, Chr. The Pope’s triple crown, emblematic of his authority in
the three kingdoms of heaven, earth, and the lower world. (See Fig.
653.)
=Tibia=, R. (Greek, _aulos_). A pipe or flute of reed, bone, ivory,
horn, or metal, perforated with holes for the notes like a flute; the
principal varieties were:—the _monaulos_ or single pipe, including the
bagpipe (_utricolarius_); the _diaulos_, or double pipe, bound round the
cheeks with a bandage called by the Romans _capistrum_, and in Greek
_phorbeia_; and the _syrinx_ or Pandæan pipe, of three to nine tubes.
=Tibia Curva=, R. A kind of flute curved at its broadest end.
=Tibia Dextra=, R. The right-hand pipe of the _diaulos_, usually
constructed of the upper and thinner part of a reed.
=Tibia Gingrina=, R. A flute made of a long thin tube of reed with a
mouth-hole at the side of one end.
=Tibia Ligula=, R. A flute resembling the modern flageolet.
=Tibia Longa=, R. A flute used especially in religious worship.
=Tibia Obliqua=, R. A flute having the mouthpiece at right angles to the
tube.
=Tibia Sinistra=, R. The left-hand pipe of the _diaulos_, usually
constructed of the lower and broader part of a reed.
=Tibia Utricolarius=, R. The ancient bagpipe.
=Tibia Vasca=, R. A flute having the mouthpiece at a right angle.
=Tibiæ Pares=, R. A name for the double flute when the tubes were
exactly alike, _impares_ when they differed.
=Tie-beam=, Arch. The strong horizontal on which the king-post and other
uprights rest, which support the beams of a roof.
=Tierce=, =Per Tierce=, Her. Divided into three equal parts.
=Tig=, O. E. A shallow drinking-bowl with four handles, made to pass
round the table from hand to hand as a _loving cup_.
=Tiger-wood=, obtained from Guiana, is a valuable ornamental wood for
cabinet-work.
=Tignum=, R. In a general sense wood used in carpentry, a beam or joist;
in a more restricted sense, a tie-beam, rafters, brackets, &c.
=Tigrinæ.= Tiger-tables. Great importance was attached in Roman
decorative art to the grain of the wood. Tables having “veins arranged
in wavy lines,” were called Tigrinæ, from the resemblance of their
pattern to that of a tiger’s skin. Those having “veins which formed
spirals, or little whirlpools,” were called _pantherinæ_, or
panther-tables.
=Tiles= for roofs are of two kinds:—plain tiles and pan tiles; they are
mentioned in an ancient statute of King Edward IV. (1477), regulating
the
“Fesure, whitying, et anelyng de tewle, appelez pleintile, autrement
nosmez thaktile, roftile, ou crestile, cornertile et guttertile fait
et affaire deinz cest Roialme.”
_Glazed_ or _encaustic tiles_ were anciently much used for paving sacred
edifices. English designs are generally heraldic in character. In
Spanish architecture tiles were used for the decoration of walls instead
of hangings; and richly decorated pavements are found in Asia Minor and
the East Indies. (Consult _Parker’s Glossary_, _J. G. Nichols_,
_Examples of Tiles_, &c.)
=Tilt=, O. E. The word is properly applied to the exercises in training
for the joust, against the QUINTAIN, the PEL, the ring, and other
objects.
=Timbre=, Her. (1) Anciently, the _crest_; (2) Modern French, the
_helm_, in a coat of arms.
=Timbrel.= An ancient _tambourine_, with a double row of gingles.
=Tin-glazed Wares.= (See POTTERY.)
=Tina=, R. A large vessel used for holding wine; its shape is unknown.
=Tinctures=, Her. The two metals and the five colours of heraldry.
=Tint= of colour = degree of intensity. In painting in oils this is
lowered by the addition of a white pigment, in water-colours by
dilution. “_Tint_ is any unbroken state of any colour, varying between
the intensity of its parent colour and the purity of white.” (_J. B.
Pyne, in the Art Union of 1844._) (See TONES.)
=Tint-tools.= In copper and wood-engraving, gravers used for skies,
still waters, architecture, &c. The word “tint” in engraving means
colour, and skies are _tints_ cut horizontally.
=Tintinnabulatus=, R. Carrying a bell (_tintinnabulum_); a term applied
especially to animals which carried a bell hung round their neck.
[Illustration: Fig. 654. Tintinnabulum. Front view.]
[Illustration: Fig. 655. Tintinnabulum. Side view.]
=Tintinnabulum=, R. (Gr. κώδων). A bell used as a hand-bell; they took
very various forms in antiquity, hemispherical, pear-shaped, or
cylindrical, and some were square. The Romans also made use of a kind of
swinging gong similar to that shown in Figs. 654 and 655, of a specimen
discovered at Pompeii, and now in the Naples museum.
=Tintinnabulum=, O. E. A musical instrument made of a set of bells,
arranged in order within a frame.
=Tints.= (See TONE.)
=Tiraz=, Arab. The ancient name of the apartment in an Arab palace set
apart for weaving; also of the rich silken stuffs woven there.
=Tire Valiant= or =Volant=, O. E. A kind of head-dress. (_Shakspeare._)
=Titulus=, R. (1) The title or INDEX of a book. (2) A notice in front of
a house to be let or sold. (3) An epitaph or other inscription on
monuments. (4) A large board mounted on a spear and inscribed with the
numbers of the prisoners, cities, and standards that had been captured
from the enemy; carried in a TRIUMPH or OVATION.
=Tobine.= A stout twilled silk.
[Illustration: Fig. 656. Roman Senator wearing the toga.]
=Toga=, R. (_tego_, to cover). The principal outer garment of a Roman,
as the PALLIUM (q.v.) was the national dress of the Greek. Among the
different kinds of toga were the _toga restricta_, _toga fusa_, _toga
prætexta_, _toga pura_ or _virilis_, _toga palmata_, _toga picturata_,
&c. The colour of the toga was ordinarily white. _Candidates_ (from
_candidus_, white) were so called from their whitening their togas with
chalk; the _toga pulla_, of the natural colour of black wool, was worn
in mourning; the _toga picta_, or embroidered toga, was for generals on
their triumphs. (See also PRÆTEXTA, TRABEA, &c.) The illustration (Fig.
656) represents the statue of a Roman senator of the Augustan age.
=Togatus=, R. Wearing the _toga_; essentially the Roman costume, opposed
to _palliatus_, a man in the Greek dress.
=Togula=, R. (dimin. of _toga_). (1) A toga of a fine texture; or (2)
the short and threadbare toga of coarse texture, worn by a poor man, who
then went by the name of _togatulus_.
=Toilinet.= A textile of silk or cotton warp, with woollen weft.
=Toise.= In French lineal measurement = 76 inches.
=Toison d’Or=, Her. The Golden Fleece. A French order of knighthood,
instituted by Philip the Good in 1429. The order has a king at arms
called Toison d’Or. The collar is composed of flint-stones, alternately
with double _fusils_ placed two and two together, forming double B’s.
From this suspends a Golden Fleece. The motto is, “Pretium non vile
laborum.” (See FUSIL.)
=Tokens.= Small coins issued by tradesmen for current money. (Consult
_W. Boyne’s Tokens_, &c.)
=Tolleno=, R. (_tollo_, to lift). (1) A contrivance for drawing water
from a well, made of a strong cross-bar poised from the top of an
upright beam, with a weight at one end and a rope and bucket at the
other. (2) A similar apparatus was used in siege operations to lift
soldiers up to a wall.
=Tom-tom.= Oriental small drum, of a barrel form, covered at each end
with skin, carried obliquely, and beaten with one hand at each end.
[Illustration: Fig. 657. Lycian Tomb of great antiquity.]
=Tomb.= From the earliest ages tombs similar in general design to those
of modern times have been used to mark the resting-places of the dead.
Fig. 657 represents an ancient monument in Lycia. (See STELA, SHRINE.)
=Tombac.= Red brass; the white tombac is an alloy of copper and zinc,
containing not more than 20 per cent. of zinc.
=Tompion.= The plug to the mouth of a cannon.
=Tondi=, It. A name given to a series of twelve circular medallions,
painted by Luca della Robbia, with impersonations of the twelve months.
=Tondino=, It. A name given to small plates or dishes, which it was a
mediæval fashion for the gallants to present, filled with
confectioneries, to ladies. They are described as small, with a wide
flat brim and sunk centre; in this, the central medallion generally
occupied by a figure of Cupid, hearts tied by ribbons or pierced with
arrows, or by joined hands, and similar amatory devices, or with a
shield of arms and initial letters, &c.
=Tones= are the modifications which a colour, in its greatest intensity,
is capable of receiving from _white_, which _lowers_ its tone, or
_black_ which _heightens_ it. A _scale_ is an assemblage of tones of the
same colour, thus modified. The pure colour is the _normal tone_ of the
scale. _Hues_ are the modifications which a colour receives from the
addition of a small quantity of another colour. (_Chevreuil on Colour_,
pp. 34, 35.)
=Tonometer.= A delicate instrument for tuning musical instruments, by
marking the number of vibrations.
=Tonstrina=, R. A barber’s shop; frequented only by the middle classes;
the rich were shaved at their houses; and the poor allowed their beards
and hair to grow.
=Tonsure=, Chr. The clerical crown, adopted, it is said, in imitation of
St. Peter, or of the Crown of Thorns, was disapproved of in the 4th
century as pertaining only to penitents; and not made essential till the
end of the 5th or beginning of the 6th centuries.
=Tontisse=, Fr. Flock-paper; paper-hangings ornamented with flock-wool.
=Tooth-Ornament=, Arch. A name of the NAILHEAD moulding. It is the
peculiar distinction of the Early English style, to which it is nearly,
if not exclusively, confined. It is the regular progression from the
Norman _zigzag_ to the delicate _quatrefoil_ of the DECORATED ENGLISH.
It resembles a succession of low, square, pierced pyramids set on the
edges of a hollow moulding.
=Toothing=, Arch. Projecting bricks left at the end of a wall, to form a
_union_ with any further buildings.
=Topaz.= There are two varieties of this gem; the Brazilian yellow,
which is the best known, and the Oriental.
=Topaz=, Her. In blazoning arms of nobles, the names of _gems_ were
sometimes substituted for _tinctures_; the topaz for gold (OR).
=Topes=, Hind. Buddhist sepulchral monuments, cone-shaped, and round at
the tops, like the _dagobs_ of Ava and Ceylon.
=Topiaria= (Ars), R. Artificial training of shrubs and trees into
fantastic shapes. Painted representations of landscapes on the walls of
houses were called TOPIA. (See HORTUS.)
=Topiarius=, R. A gardener skilled in the ARS TOPIARIA (q.v.).
=Torale=, R. (_torus_, a couch). The hanging valance of a couch.
=Torch=, R. The emblem of marriage, from the custom of forming wedding
processions in the evening by torch-light. Upright, the torch was the
emblem of rejoicing; reversed, of death or sleep; hence its application
upon funereal monuments.
=Torcular=, =Torculum=, R. A wine or oil-press. Hence—
=Torcularium=, R. The press-room.
=Toreador=, Sp. A bull-fighter.
=Toreuma=, Gr. and R. (τόρευμα). _Carving upon ivory_ executed on the
lathe.
=Toreutic Art= (from τορεύω, to bore through; _or_ from τορός, clear,
distinct). Sculpture; especially of metals, ivories, metallic castings
in relief, &c. A long essay on the meaning of this word occurs in the
works of De Quincy.
=Tormentum=, R. (1) (_Torqueo_, to twist.) A general term for such
instruments as the _balista_, _catapulta_, _onager_, _scorpio_, &c.,
from the twisting of the strands of the ropes that were used as the
string to the bow. (2) Torture. By the Greek law the evidence of slaves
was _always_ extracted by torture. In Rome free persons _in humble
circumstances_ were also subjected to it in cases of treason.
=Tornus=, Gr. and R. A lathe or potter’s wheel.
=Torquatus=, R. Wearing the Gallic TORQUE. _Torquatus miles_, a soldier
who received such a collar as a reward, and wore it, not round the neck,
but on the breast, like a decoration.
=Torques=, Gen. (_torqueo_, to twist). A necklace, or armlet, or collar
of gold or other wire spirally twisted. (See ARMILLA, MONILE, &c.)
=Torse=, Her. A crest-wreath. (See ORLE.)
=Torso=, It. In Sculpture, the trunk regarded apart from the head and
limbs. The celebrated Torso of Hercules, in the Vatican, by Apollonios,
about 336 B.C., is said to have been the favourite inspiration of
Michael Angelo. Another fine torso is that known as the Farnese, in the
Naples Museum, representing probably a seated figure of Bacchus.
=Torteau=, Her. A red ROUNDLE (q.v.).
[Illustration: Fig. 658. Tortoise. Device of the Duke of Tuscany.]
=Tortoise.= Among the Egyptians the tortoise was an emblem of darkness
and of death. Fig. 129 is the remarkable device of Cosmo, Grand Duke of
Tuscany, with the motto, “Hasten slowly,” i. e. have caution with
energy.
=Tortoise-shell= is largely used for making combs, and for veneering on
cabinet-work. When it is softened with hot water, it receives
impressions which become permanent if it is suddenly cooled. The plates
used are those found on the back of the sea-turtle (_chelone
imbricata_). Five large plates are obtained from the middle of the
carapace or upper buckler, and four large ones from the sides, called
“blades,” and twenty-five smaller plates from the edges, called “feet or
noses.” The belly shells are of a yellow colour, and are used for the
purposes of horn.
=Torus=, R. Anything swelling like the strand of a rope. A bed covered
with sheets or blankets (_toralia_).
[Illustration: Fig. 659. Torus moulding.]
=Torus=, Arch. A convex moulding used in architectural decoration (Fig.
659) at all periods and by all nations.
=Touchstone= is a kind of black jasper, known as _Lydian stone_, used
for testing gold. This is done with _touching_-needles tipped with metal
in various states of alloy, and the streaks that they make on the
touchstone determine the fineness of the gold. In Architecture, certain
black marbles were anciently so called, from their supposed identity
with the _lapis Lydius_.
=Tough=, Turkish. A Turkish standard; a _horse-tail_ attached to the
upper part of a pike which ends in a crescent and ball.
=Tourelle=, Fr. A small tower on a castle, with a winding staircase.
=Towers.= (See ROUND TOWERS.)
=Trabea=, R. (lit. shaped like a _trabs_ or beam). A rich toga, either
made entirely of purple cloth or decorated with horizontal stripes of
that colour. The purple toga was an attribute of the _gods_, and
afterwards of the _emperors_; purple and white, or purple and saffron,
of augurs; purple and white, of _royalty_ (kings).
=Trabs=, R. A beam; especially a long beam supporting the joists of a
ceiling.
=Tracery.= In architecture or decorative work, geometrical ornament,
such as is inserted on the upper parts of Gothic windows, in Alhambraic
architecture, &c.
=Tracing-paper= is made of tissue-paper soaked in oil or thin varnish.
=Trajan Column=, in Rome, the work of Apollodorus, A. D. 114, is 10½
feet in diameter, and 127 feet high, made of 34 blocks of white
marble—23 in the shaft, 9 in the base, which is finely sculptured, and 2
in the capital and torus. The sculptures show about 2500 figures besides
the horses, and represent the battles and sieges of the Dacian War. The
column is a perfect _handbook_ of the military costume of Rome and other
countries of its period. (Consult the work of _Alfonso G. Hispano_,
published at Rome, 1586, which contains 130 plates representing all the
sculptures; or the more modern work of _Pietro Santo Bartoli_, which
contains beautiful engravings of all the reliefs.) A plaster cast of the
column in two pieces is in the South Kensington Museum, with a handbook
by J. H. Pollen on a desk near its base, with the aid of which it can be
perfectly studied at leisure.
=Trama=, Sp. The weft or woof; a kind of silk thread so called.
=Transenna=, R. and Chr. A snare for birds. It consisted of a net
stretched over a circular framework. In Christian archæology, the name
was given to a marble lattice placed in the catacomb chapels to protect
the relics.
=Transept=, Arch. A transverse nave, passing in front of the choir, and
crossing the longitudinal or central nave of a church. It is sometimes
called the _cross_, and each of its parts to the right and left of the
nave are called _cross-aisles_.
=Transfluent=, Her. Flowing through.
=Transition Periods= of Architecture. Generally speaking, all periods
deserve this title, as the progressive change of the styles is
continuous. Those with more precision so described are, in English
Architecture, three:—from the NORMAN to the EARLY ENGLISH; and then to
the DECORATED; and thirdly to the PERPENDICULAR, styles.
=Transmuted=, Her. Counter-changed.
=Transom=, Arch. The horizontal cross-bar in a window.
=Transposed=, Her. Reversed.
=Transtrum=, R. (_trans_, across). In a general sense a horizontal beam.
In the plural, _transtra_, the cross-benches of a ship occupied by the
rowers.
=Trapeso=, It. A weight for gold and silver; the twentieth part of an
ounce.
=Trapetum=, R. A mill for crushing olives.
=Trapezophorum=, R. (τραπεζο-φόρον). A richly carved leg for side-boards
or small tables; sometimes called DELPHICA (q.v.).
=Trasformati of Milan.= One of the Italian Academies who bore as a
device a plane-tree, and the verse from Virgil, “_et steriles platani
malos gessere valentes_,” “the barren planes have borne good fruit” (cut
out of a wild olive-tree and grafted in).
=Travagliati.= One of the Italian literary academies, whose device was a
sieve (_vaglio_) with the motto “_donec purum_” (until clean).
=Traversed=, Her. Facing to the _sinister_.
=Travertine=, =Travertino=, It. A compact kind of TUFA stone, used in
architecture; part of St. Peter’s and the Colosseum of Rome are built of
this stone. (See TUFA.) It is a stone of a white or yellowish tint, and
was used by the ancient painters to give _body_ to lakes.
=Trebuchet=, Fr. Med. A mechanical contrivance for projecting stones and
darts; a kind of enormous cross-bow or sling.
=Tredyl=, O. E. (See GRYSE.)
=Treflée=, Her. (See BOTONNÉE.)
[Illustration: Fig. 660. Trefoil slipped.]
=Trefoil=, Arch. An ornament of three foils peculiar to the
Romano-Byzantine and pointed styles. This ornament occurs in bands or
string-courses, and also forms _entablatured_ foliage. A synonym for it
is _tiercefoil_. In Heraldry, a leaf of three conjoined foils generally
borne _slipped_. (Fig. 660.)
=Trellis.= Open lattice-work.
=Trenchers= (Fr. _tranchoirs_). Originally thick _slices_ of bread on
which the meat was served, instead of plates; 13th century.
=Trental=, O. E. Chr. for Trigintale. Thirty masses for the dead.
=Tresson=, Fr. A net for the hair, worn by ladies in the Middle Ages.
(See CALANTICA.)
=Tressure=, Her. A variety of the ORLE, generally set round with
_fleurs-de-lys_. A striking example is to be seen in the Royal Shield of
Scotland, now displayed in the second quarter of the Royal Arms,
blazoned as—_Or, within a double Tressure flory; counterflory, a lion
rampant guardant_.
=Trevat.= A weaver’s cutting instrument for severing the pile-threads of
velvet.
=Triangle=, Chr. An equilateral triangle is a symbol of the Holy
Trinity, and therefore the motive, only second in frequency and
importance to the CROSS, of the construction and decoration of Christian
churches.
=Triangle.= A musical instrument of early occurrence, producing sound by
the striking of a metal triangle with a metal rod.
=Triblet.= A goldsmith’s tool used in making rings.
=Tribometer.= An instrument for estimating the friction of different
metals.
=Tribon=, Gr. and R. (τρίβων). Literally, worn threadbare; and thence a
coarse and common sort of mantle worn by the Spartans or by Romans who
affected Spartan manners.
=Tribula= or =Tribulum=, R. (_tero_, to rub). An apparatus for threshing
corn; consisting of a heavy platform armed with iron teeth or sharp
flints.
=Tribulus=, R. (τρί-βολος, three-pointed). A CALTRAP (q.v.).
=Tribunal=, R. A raised platform for the curule chairs of the
magistrates in the Basilica.
=Tribune=, R. and Chr. The semicircular recess in a Latin basilica in
which the chief magistrate had his raised seat and administered justice.
In Christian archæology, a gallery in a church; the _triforium_ and the
organ-loft are tribunes. In Italian, _tribuna_, a picture-gallery.
=Tricerion=, Chr. (τρὶς, thrice; κέρας, a horn). A candlestick with
three branches, symbolizing the Holy Trinity. (See DICERION.)
=Tricked=, Her. Sketched with pen and ink in outline.
=Triclinium=, Gr. R. and Chr. (τρι-κλίνιον). A set of three
dining-couches arranged round a table, and thence the dining-room
itself, especially the summer dining-room. In Christian archæology the
_triclinium_ was an apartment attached to a Christian basilica, in which
pilgrims were entertained.
=Tricolor.= The French national standard—red, white, and blue—introduced
at the period of the revolution of 1789.
=Tricomos=, Gr. and R. A song for the third course of a banquet (κῶμος)
at the festivals of Bacchus. The _comus_ was peculiar to the first, and
the _tetracomos_ to the fourth course.
=Tricot=, Fr. (1) Silk net. (2) A knitted cotton fabric.
[Illustration: Fig. 661. Trident.]
=Trident=, R. A three-pronged fork, the attribute of Neptune, used (1)
for spearing fish; (2) by the class of gladiators called RETIARII; (3)
as a goad for horses and cattle.
=Triens=, R. A small copper coin current among the Romans; it was worth
the third of an as, or about one farthing. It bore on the obverse a
ship’s prow or a horse’s head, and four balls indicating four ounces
(_unciæ_).
=Trieterides=, Gr. (τρι-ετηρίδες). Festivals of Bacchus, held in Bœotia
every third year.
=Triforium=, Chr. A gallery over the side aisles of a church, open to
the nave in arcades of three arches (_tres fores_).
=Triga=, R. A car drawn by three horses yoked either abreast or with one
in front.
=Trigarium=, R. A field for the exercise of _trigæ_ and other chariots.
=Triglyph=, Arch. (τρίγλυφος). An ornament consisting of three flutings
or upright groovings separating the metopes in a Doric frieze. (Fig.
458.)
=Trigonalis=, R. Three-cornered “catch-ball;” a subject on frescoes.
[Illustration: Fig. 662. Trigonum opus.]
=Trigonum=, Gr. and R. (τρίγωνον). (1) A mosaic of triangular pieces of
marble, glass, terra-cotta, or other material (_sectilia_). Fig. 662 is
from a pavement at the entrance of a house at Pompeii. (2) A musical
stringed instrument; a triangular lyre, probably derived from Egypt.
=Trilith=, Celt. (τρί-λιθος). A Celtic monument of three stones forming
a kind of door.
=Trilix=, R. In weaving, triple thread. (Compare BILIX.)
=Trilobate=, Arch. Presenting three foils.
=Trimodia=, R. A basket or vessel made to contain three modii (_tres
modii_).
=Trinity=, Chr. For a detailed account of the progressive series of
representations in Art of the Holy Trinity, consult _Fairholt’s
Dictionary_, _Didron’s Iconographie Chrétienne_, &c.
=Triobolum=, Gr. A Greek silver coin of the value of three oboli. It was
the established fee payable to an Athenian _dikast_ for the hearing of a
cause.
=Tripetia.= A Gallic term signifying a three-legged _stool_.
[Illustration: Fig. 663. Tripod.]
=Tripod= (Gr. τρί-πους). A vessel or table on three feet; esp. the slab
at Delphi upon which the priestess of Apollo sat. (See DELPHICA,
CORTINA.)
=Tripping=, Her. In easy motion, as a stag.
[Illustration: Fig. 664. Triptych carved in ivory with open doors.]
=Triptych= (τρί-πτυχος, three-fold). A form of picture, generally for
ecclesiastical purposes, in three panels; a centre, and two hanging
doors worked on both sides. (Fig. 664.)
=Tripudium=, R. The noise made by the grain as it fell from the beaks of
the sacred chickens on to the ground; it was looked upon by the priest
as a favourable omen; another name for it was _terripavium_ (striking
the earth). (See AUSPICIUM.)
=Triquetra=, Arch. A symmetrical interlaced ornament of early northern
monuments. An endless line forming three arcs symmetrically interlaced
will describe the figure.
=Trireme=, R. (_tres_, and _remus_, oar). A galley with three banks of
rowers.
=Trisomus=, Chr. (τρί-σωμος). A triple sarcophagus. (Cf. BISOMUS.)
=Trispastus=, R. (τρί-σπαστος, drawn three-fold). A block for raising
weights; of three pullies (_orbiculi_), set in a single block
(_trochlea_).
=Triton.= A sea-monster; generally represented as blowing a shell
(_murex_), and with a body above the waist like that of a man, and below
like a dolphin.
[Illustration: Fig. 665. Trophy on a triumphal arch.]
=Triumphal Arch.= A monumental structure, usually a portico with one or
more arches, erected across a public road for a triumphal procession to
pass under.
=Triumphalia=, R. Insignia conferred upon a general on the occasion of a
triumph; consisting of a richly embroidered toga and tunic, a sceptre, a
chaplet of laurel leaves with a crown of gold, and a chariot.
=Triumphalis= (Via), R. The road traversed by a triumph.
=Triumphus=, =Triumph=, R. The pageant of the entry of a victorious
general into Rome.
=Trivet=, Her. A circular or triangular iron frame with three feet,
borne by the family of Tryvett.
=Trivium=, R. (_tres_, and _via_, a way). A place where three roads
meet.
=Trochilus=, Arch. A concave moulding in classic architecture. (See
SCOTIA.)
=Trochlea=, R. (τροχιλέα). A machine for raising weights, very similar
to the TRISPASTOS.
=Trochus= (τροχὸς, a wheel). A hoop represented on ancient gems as
driven by naked boys with a crooked stick, precisely in the existing
school fashion. It was of bronze, often with rings attached.
=Trombone.= A large trumpet with an arrangement of sliding tubes for
modulating the tones by which every gradation of sound within its
compass can be exactly produced.
=Trophy=, Gr. (τρόπαιον). A monument of victory (τροπή). Fig. 665
represents a trophy of Gallic spoils, from a bas-relief on the triumphal
arch at Orange.
=Trotcosie=, Scotch. A warm covering for the head, neck, and breast,
worn by travellers.
[Illustration: Fig. 666. Trulla.]
=Trua=, dim. =Trulla=, R. (1) A large flat ladle or spoon perforated
with holes and used for skimming liquids when boiling. (2) A kind of
drinking-cup. (3) A portable brazier or earthenware vessel perforated
with holes (Fig. 666) for carrying hot coals about. (4) A mason’s
trowel.
=Trullissatio=, R. A coating of plaster or cement laid on by the trowel
(_trulla_).
=Trumeau=, Fr. A pier looking-glass.
[Illustration: Fig. 667. Trumpet.]
=Trumpet=, Her. The Roman _tuba_; a long straight tube expanded at its
extremity.
=Truncated.= With the top cut off parallel to the base.
=Trunnions.= The side supports on which a cannon rests on its carriage.
=Truss=, Arch. The system of timbers mutually supporting each other and
the roof.
=Trussed=, Her. Said of birds, with closed wings.
=Trussing=, Her. Said of birds of prey, devouring.
=Tuba=, R. A straight bronze trumpet with a small mouthpiece at one end,
the other being wide and bell-shaped. (Cf. CORNU.)
=Tubilustrum=, =Quinquatrus=, R. Festivals held at Rome twice a year,
for the purification of trumpets (_tubæ_).
=Tubla.= Assyrian drums, with skin at the top only.
=Tuck=, O. E. A short sword or dagger, worn in the 16th and 17th
centuries by all classes.
=Tucket=, O. E. (It. _toccata_). A flourish on a trumpet.
=Tudesco=, Sp. A wide cloak.
=Tudor Arch=, Arch. An arch of four centres, flat for its span; having
two of its centres in or near the spring, and the other two far below
it. (_Rickman._)
=Tudor Flower=, Arch. An ornament common to Elizabethan buildings. A
flat flower, or leaf, as a crest or finish on cornices, &c.
=Tudor Rose=, formed by the union of the white and red roses of York and
Lancaster; is described in heraldry as a white rose charged upon a red
one. (See Fig. 395.)
=Tudor Style=, Arch. The style which prevailed under the Tudor dynasty.
The term is loosely applied to various periods. (See PERPENDICULAR.)
=Tufa.= A porous variety of limestone deposited by calcareous water. It
hardens on exposure to the air; and was much used by the Romans for
facing buildings, and generally, on account of its lightness, for
vaulting. (See TRAVERTINE.)
=Tugurium=, R. (_tego_, to cover). A thatched roof, and thence, a
peasant’s hut.
=Tulip-tree.= The wood of this tree is smooth and fine-grained, very
easily wrought, and not liable to split. It is largely used in carving
and ornamental work, and for panels in coach building.
=Tulle=. A plain silk lace, blonde or net.
=Tumblers.= The drinking-glasses so called take their name from their
original shape, rounded at the bottom, so that they _tumbled_ over
unless they were very carefully set down. Similar goblets are still made
of wood in Germany; often with the inscription—
“Trink’ mich aus, und leg’ mich nieder:
Steh’ ich auf, so füll’ mich wieder.”
[Illustration: Fig. 668. Plan of a Tumulus.]
=Tumulus= (_tumeo_, to swell). Sepulchral mounds of ancient and
prehistoric construction. The illustrations, figs. 668 and 669, show the
plan and section of a Gallic tumulus opened at Fontenay le Marmion.
[Illustration: Fig. 669. Section of a Tumulus.]
=Tumulus Honorarius.= (See CENOTAPHIUM.)
=Tunbridge Ware.= Inlaid-work of variously-coloured woods made at
Tunbridge Wells in Kent.
[Illustration: Fig. 670. Tunica muliebris, _talaris_.]
=Tunica=, Gr. and R. A tunic; the principal garment worn both by men and
women among the Greeks and Romans. It was a kind of woollen shirt
confined round the neck and the waist; it came down as far as the knee;
it had short sleeves which only covered the upper part of the arm.
Tunics were classed as follows: the _exomis_, the _epomis_, the
_chiton_, the _manicata_ or _manuleata_, the _talaris_, the _muliebris_,
the _interior_ or _intima_, the _recta_, the _angusticlavia_, the
_laticlavia_, the _patagiata_, the _palmata_, the _asema_, and the
_picta_. (_Bosc._) (Fig. 670.)
=Tunicatus=, Gr. and R. Wearing a tunic.
=Tunicle=, Chr. (Lat. _subtile_). The vestment of the sub-deacon; it
resembled the dalmatic, but had tight sleeves.
=Turbo=, R. (Gr. βέμβιξ). A child’s whipping-top; the whorl of a
spindle.
=Turibulum.= (See THURIBLE.)
=Turicremus.= (See THURICREMUS.)
=Turkey Carpets= are made entirely of wool, the loops being larger than
those of Brussels carpeting, and always cut; the cutting of the yarn
gives the surface the appearance of velvet.
=Turkey-stitch= (_point de Turquie_). A kind of carpet made at the
Savonnerie, established 1627.
=Turma=, R. A squadron of legionary cavalry; it consisted of thirty-two
men commanded by a decurion, and led under a _vexillum_.
=Turnbull’s Blue.= A light and delicate variety of _Prussian blue_.
=Turner’s Yellow.= An oxychloride of lead, known also as _patent
yellow_, and _Cassell yellow_.
=Turquoise.= A valuable blue gem for ornamental purposes. (_S._) Fossil
ivory impregnated with copper. (_F._)
=Turrets=, Arch. (Fr. _tourette_, a small tower). Towers of great height
in proportion to their diameter, and large pinnacles, are called
turrets; these often contain staircases, and are sometimes crowned with
small spires. Large towers often have turrets at their corners.
=Turricula=, R. (dimin. of _turris_). A small tower; also, a dice-box in
the form of a tower, to which the Greeks applied the term of _pyrgus_
(πύργος). _Turricula_ has a synonym FRITILLUS (q.v.).
=Turriger=, R. Bearing a tower; the term applies both to an elephant and
a ship of war when thus armed.
=Turris=, =Tower=. In a general sense, any building or collection of
buildings either lofty in themselves or built upon an elevation, and
thence, fortifications, such as a tower of defence, the tower of a city
gate or a castle, a DONJON (q.v.).
=Tus= or =Thus=, R. Frankincense, imported from Arabia and used in great
quantities by the ancients either for religious ceremonies or to perfume
their apartments.
=Tuscan Order of Architecture.= The simplest of the five ORDERS of
classical architecture, having no ornament whatever; unknown to the
Greeks; a variety of ROMAN DORIC (q.v.). The _column_ is about seven
diameters high, including the base and capital. The _base_ is half a
diameter in height; the _capital_ is of equal height, having a square
_abacus_, with a small projecting fillet on the upper edge—under the
abacus is an ovolo and a fillet with neck below; the _shaft_ is never
fluted; the _entablature_ is quite plain, having neither _mutules_ nor
_modillions_; the _frieze_ also is quite plain.
=Tusses= or =Toothing-stones=, in building, are projecting stones for
joining other buildings upon.
=Tutulatus=, R. Having the hair arranged in the form of a cone, or
wearing the sacerdotal cap called _tutulus_, and thence a priest who
usually wore the TUTULUS (q.v.).
=Tutulus= or =Apex=, R. (1) A flamen’s cap; it was conical and almost
pointed. (2) A mode of arranging the hair on the crown of the head in
the shape of a pyramid or cone. An example is seen in the Medicean
Venus.
=Twill.= A kind of ribbed cloth.
=Tympanium=, R. (τυμπάνιον). A pearl shaped like a kettle-drum, namely,
with one surface flat and the other round.
[Illustration: Fig. 671. Tympanum. Romano-Byzantine.]
=Tympanum=, R. (τύμπανον). (1) A tambourine, like that of modern times:
a piece of stiff parchment stretched over a hoop with bells. (2) A
drum-shaped wheel; _tympanum dentatum_, a cogged wheel. (3) In
architecture, the flat surface, whether triangular or round, marked out
by the mouldings of a pediment. Fig. 671 shows a tympanum of the
Romano-Byzantine period. (For TRIANGULAR PEDIMENT, see Fig. 26.)
=Tynes=, Scotch. (1) Branches of a stag’s antlers. (2) Teeth of a
harrow.
=Tyrian Purple.= An ancient dye of a brilliant colour, obtained from
shells of the _murex_ and _purpura_.