Professional Documents
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ART DICTIONARY
ADELINE'S
ART DICTIONARY
NEW YORK
D. APPLETON AND COMPANY
1905
Authorized Edition.
703
Ad3a
1905
INTRODUCTION.
•-
TERMS IN ART.
Abaculus. (Arch.) A die or small order. In the Doric order the abacus is
tile made of stone, glass, or a composi- strong and simple in outline, while in
tion in imitation of stone, and used in the Ionic it is ornamented, and in the
Corinthian it is cur-
vilinear instead of
straight. In the Go-
thic style the aba-
eus varies according
to the period. In
the Romanesque period, i.e. in the
12th and 13th centuries, it is square,
and projects beyond the foliage of the
capital ; in the 13th century it is some^
times polygonal, and very often the
foliage of the capital projects beyond
it. T h e r e are also found, chiefly in Nor-
mandy, some abaci belonging to this
which prevents the appearance of the built the temple consecrated to the deity
iridescent colours seen by a person look- under whose protection the city existed.
ing at an object through a single lens. T h e most famous acropolis in ancient
Aciérage. (Engrav.) A process in- times was that of Athens, on which stood
vented by Salmon and Gamier, and the Propylsea, the temple of Athene
brought to perfection by Jacquin. It Parthenos adorned by the sculptures of
consists in covering copper-plates with a Pheidias, the Erechtheum, and many
very fine film of steel by means of electro- national monuments.
plating. T h e object of aciérage is to Acrostolium. A sculptured orna
obtain a metal surface with more power ment, generally in the shape
of resistance than copper, and not so of a volute, which sur-
likely to be worn out by the continual mounted the prow of ancient ,
wiping which printing necessitates. In galleys. It sometimes pre-
addition, the process can be repeated sented the form of an ani-
if the wear and tear of the plate ren- mal's snout, or of some de-
der it necessary or if the artist wishes fensive arm, such as a helmet or buckler.
to retouch the plate. T h e removal or Acroterium. (Arch.) A pedestal
renewal of the steel coating is an opera-
tion of extreme facility.
Acinaces. A short dagger worn
by the Persians,
Medes, and Scy-
thians. It was
suspended round
the waist and so
arranged as to lie placed at the corners as well as on the
against the right summit of the pediment in Greek and
thigh. Roman temples. These acroteria were
Acketon. (Cos.) sometimes of great importance, and con-
A sleeveless tunic sisted of pedestals carrying figures of
of buckram or colossal size. W e
buckskin worn still find, in some
under t h e armour, monuments of the
to which a refer- Romanesque pe-
ence will be found riod, examples of
in Chaucer's " Sir acroteria placed
Topaz." At the as end-ornaments
end of the 15th on the gable of the
century the term was applied to de- apse.
fences of plate. Acus. A Latin
Acratophoron. A term used by the term for a pin or
Greeks and Romans to denote the vessel needle. It especi-
in which unmixed wine was put on the ally denotes a pin,
table. made of gold, sil-
Acropolis. (Arch.) T h e citadel in ver, bronze, ivory,
ancient Greek towns. T h e acropolis was I or wood used to
generally a lofty rock, constituting a fasten garments
natural fortification, which was further or pass through
strengthened by the construction of walls plaited hair.
proof against any attack. On it was I Addorsed, Adorsed. (Her.) Said of
5
ADI ART DICTIONARY. AGN
silk is stretched vertically. T h e alidade Allege. (Arch.) A very thin wall closing
is placed on a table, and a ray of light the lower compart
passing through the two threads serves ment of Gothic
to determine a direction. windows. In the
Alignment. A series of menhirs 15th century these
(q ν ) or blocks of stone placed in two leaning-places are
often decorated
by arcades, and
in the 16th cen
tury by bas-reliefs
or systems of orna
ment, in the cen
tre of which is a
scroll flanked by
or more parallel lines, several examples figures of children.
of which exist in Brittany and else Allegory. A name given to groups or
where. figures painted or sculptured, which
Alia Prima. (Paint.) When a picture represent symbolic personages. For
is painted at once without retouching, it instance, we speak of an allegory of
is said to be executed " alia prima." justice, an allegorical figure of youth.
This method was followed by the Van Allerions. (Her.)
Eycks and early Flemish painters, and Small birds without claws
later on by Rubens. In more modern or beaks, represented in
times a good example of the method is the attitude of eagles
Wilkie's " Preaching of John Knox." displayed. Heralds apply
Allecret. (Cost ) A light plate armour the term allerions only to
worn in the 16th century by French light eaglets.
Almayne Rivets were originally over
lapping plates of armour, but subse
quently gave their name to complete
suits of armour thus fastened.
Almery. (Arch.) A cupboard near
the altar, in which were placed the
chalices, basins, cruets, and other
sacred utensils. It was either in the
thickness of the wall or was made of
wood.
Almond. An elliptical aureole which
surrounds the repre
sentation of divine
figures in the works
of early painters or
in Gothic glass-work.
This almond is also
termed a " gloria," or
an " elliptic aureole."
Almonry. (Arch.) A
room in monastic
cavalry and German and Swiss in buildings used for the
fantry. distribution of alms.
2 9
ALM ART DICTIONARY. ALT
Almuce. (Cost.) A hood of fur, which was of the classical orders, while in the 17th
worn by the clergy and 18th centuries it developed into a
from the 13th to portico with pediments, brackets, and
15th century dur- volutes, and was sometimes entirely
ing the recital of gilded. In Italy there are still in exist-
the divine office. ence—at St. Peter's at Rome for instance
As an ecclesiastical —altars covered with rich baldachinos.
vestment it had
little or no signifi-
cance. Indeed,
its primary object
was to shield the
officiating priest
from cold. It was
also worn by bache-
lors of canon law,
and, according to
Planché, in later
times by ordinary
laymen. In England the altars were taken down
Alphege, St. at the Reformation about 1550 ; they were
An English saint restored at the beginning of the reign of
who suffered mar- Queen Mary, and again removed by Queen
tyrdom at the Elizabeth. T h e high altar at Arundel,
hands of the Danes in 1012. H e is Sussex, is supposed to be the only original
represented as a middle-aged man with altar left in England.
a battle-axe, or a chasuble containing Altar-back. (Arch.) T h e wall in which
stones, as emblematic of his martyrdom. the altar-piece is set.
Altar. T h e altar of an ancient tem- Altar-cloth. (Dec.) A rich stuff em-
ple was a table of stone or marble, on broidered with gold and silk, and some-
which the offerings to the presiding times ornamented with precious stones,
deity were placed, or a pedestal decorated which was stretched over the altar in the
with bas-reliefs. T h e altar of the Chris- early times of the Church.
tians is a consecra- Altar-piece. (Arch.) An altar deco-
ted table, which was ration consisting of a panel, in the centre
in theory the tomb of which is placed, according to the
of the martyrs, and period to which it
at which the priest belongs, a bas-re-
celebrates the mass. lief or picture. Be-
Druidical monu- fore the 13th cen-
ments, too, are as a tury altar-pieces
matter of fact altars _.__.._ were movable, but
erected for the offer- after this time they
ing of human sacrifices. T h e altars of were generally
the n t h , 12th, and 13th centuries are fixed. In the 15th
quite simple. In the Gothic period the c e n t u r y altar-
altar took the form of a small edifice pieces were often ornamented with extra-
elaborately adorned with screens, pin- ordinary magnificence, while from the
nacles, and gables. At the Renaissance Renaissance to the 17th or r8th century
it assumed the form of the entablatures they were conceived in an architectural
10
ALT ART DICTIONARY. AMA
spirit as porticoes, and were decorated not practise any branch of the fine arts,
has a taste and feeling for them. T h e
word is sometimes used in a contemp-
tuous sense to denote an unskilled
artist.
Ambrose, St. T h e patron saint of
Milan, of which city he was bishop. In
devotional pictures he is represented as
wearing the pallium and mitre and carry-
ing the episcopal crosier. His attributes
with entablatures and columns, flanked are a beehive, because tradition says
by niches, in which that when he was in his cradle a swarm
statues were of bees alighted in his mouth without
placed, and termi- harming him, and a three-thonged
nated by pedi- scourge, which he carries as the casti-
ments and vases. gator of sin.
Sometimes they Amazons. A race of female warriors,
were of sculptured the myths concerning whom were often
wood, of marvel- illustrated by Greek artists. They are
lous workmanship frequently represented on painted vases
and completely as habited in Persian or Scythian dress
gilded. and wearing a Phrygian cap. They are
Altar-screen. [Reredos.] always armed, carrying a bow, spear,
Alternation. A system of ornament
which consists in the decoration of a sur-
face by means of two distinct motifs,
which repeat themselves in succession
in the same order.
Alto-Relievo. (Sculp.) An Italian
term signifying high-relief. Sculptured
figures are said to be in alto-relievo, when
they project entirely or almost entirely
from the surface of the block from which
they are cut. T h e metopes from the
Parthenon, now among the Elgin mar-
bles, are the best extant examples of
alto-relievo.
Alura. (Arch.) A way or passage gene-
rally applied to clerestory galleries or
passages on the roof along the gutters.
Amasette. (Paint.) T h e amasette was
an instrument of wood, ivory, or horn,
with which the painters of the last sword, or battle-axe as well as a shield,
century mixed their colours on the which is sometimes round, sometimes
palette. Nowadays the palette-knife is crescent shaped. They were also a
generally used for this purpose. favourite subject with sculptors, and
Amatito. (Paint.) A pigment prepared Pliny tells us of a competition between
from red haematite and used by early Polycleitus, Pheidias, and three other
artists in fresco-painting. sculptors for a figure of an Amazon. T h e
Amateur. One who, though he does cut here given is said to be a copy of the
II
AMB ART DIC NONARY. AMP
statue produced on that occasion either until the priest appeared at the altar and
by Polycleitus or Pheidias. T h e battle
between Theseus and the Amazons
is figured in the well-known bas-reliefs
from the Temple of Theseus, while that
between the Amazons and Centaurs is to
be seen on the Phigaleian frieze. Both
these series of bas-reliefs are at the
British Museum. was then thrown back (see cut). It came
Amber. A substance washed up by into use about the 7th century.
the sea in several parts of the world, but Amorini. A name given to the Cupids
found in especially large quantities in the or small love-gods often represented in
Baltic. Its vegetable origin is now gene- art.
rally admitted. It is probably the resin- Amortissement. (Arch.) A French
ous product of a particular species of term denoting an ornament, generally
a coniferous tree. A picture varnish of
great value is obtained from it, which
was used with success by Van Eyck and
the early Flemish painters, and has been
employed ever since.
Amber Tone. A warm tone observed
in certain paintings. An amber tint
varies from a shade of pale yellow to
light carmine red.
Ambo. (Arch.) A name given to pyramidal in form, used to terminate a
pulpits in Christian basilicœ, and to the building.
tribunes placed opposite one another in Amphiprostyle. (Arch.) A temple is
said to be amphiprostyle when it has a
façade of columns at,each end.
Amphitheatre. I n Roman architec-
ture amphitheatres were large buildings,
from the rays of the sun by an immense tooth, served as amulets, as well as all
curtain. In modern times large halls kinds of small ornaments made of metals
intended for public meetings or confer-
ences, and containing seats in tiers,
where the audience sit, are called amphi-
theatres. T h e name is also given to
certain parts of theatres which contain
rows of seats rising one above another.
Amphora. A name given to a kind of
Greek vase, two-handled, and
generally of large size, which
was used to hold liquids. Some
amphorae were mounted on a
foot, others were not. They
were often mere objects of
ornament, and specimens have
been found with no hollow
interior, and therefore incap-
able of being put to any use.
T h e victors in the Panathenaic
games were awarded an amphora as or precious stone and cut into grotesque
a prize. T h e unit of capacity among forms.
the Romans was called an amphora. Anachronism. A method of repre-
Ampul. A small vessel of clay or glass senting an event artistically, in which
which contained the order of time is violated. For
consecrated oil instance, in mediaeval representations of
or wine for the scriptural scenes the costume, archi-
Eucharistie ser- tecture, and accessories often belong to
vice. Such was the time of the artist, not of the event
the holy vase pre- portrayed.
served at Rheims Anadyomene. " She who rose from
until the first the sea." T h e goddess Aphrodite was
French Revolu- said to have been born among the foam
tion, which con- of the sea, rising from which she has fre-
tained the sacred quently been represented by both ancient
oil employed in and modern artists.
the consecration Anastatic Process. A process of re-
of the kings of producing in facsimile any printed page,
France. either type or picture. T h e page to be
Ampulla. A n a m e given copied is first moistened with dilute
to small glass vases of glo- acid and then pressed down on a smooth
bular form, which were car- plate of zinc. As the acid only affects
ried by the ancients. that portion of the page which is not
Amulet. A word of East- printed on, the result is that the part of
ern origin applied to objects the zinc plate which comes in contact
of very varied character, which were with the unprinted portions of the page
worn round the neck to ward off illness, is slightly etched, while the printed
to turn away the evil eye, or confer portion leaves a film on the metal. T h e
good luck on the wearer. Stones, plants, plate is then inked, and impressions
or parts of animals, such as a hyena's struck off as in lithography. Photo-
l
S
ANA ART DICTIONARY. ANG
lithography has now entirely superseded they are sometimes of copper, silver (as
the anastatic process. at Knole, in Kent), or even gold, and
Anaglyph. A n a m e given by the an often artistically decorated. As a rule
cients to sculptures in bas-relief (q.v.). they were two in numbei, but at Pens-
Anastasia, St. A saint who suffered hurst, in Kent, a single one is found.
martyrdom at Rome for professing Andrew, St. Brother of Simon Peter
Christianity. H e r attributes are the and patron saint of Scotland and Russia.
stake, the faggots, and the palm. H e suffered martyrdom A D. 70. His
Anatomy. From the artistic point of attribute in art is the transverse cross, on
view, anatomy for the sculptor and pain which he is said to have been crucified.
ter is the study of bodily forms and the Anelace. A short sword or dagger car
play of muscles. T h e branches of ana ried by civilians until the end
tomy most important for artists are of the 15th century. It was
osteology (the study of bones) and myo double-edged and tapered to
logy (the study of muscles). In addi a point. In representations
tion to this they ought to possess a of it* which have come down
knowledge of the elementary principles to us on monuments and else
of physiology, i.e. the science of the where, it is suspended from
phenomena of life and the functions of the girdle. Our cut is from
the various parts of the body. a monumental brass of the
Anchor. T h e anchor in religious art time of Edward III.
is the symbol «\ Angels. T h e worship of
of hope. It is 1ζ angels was early introduced
the attribute in the Christian Church, and they are
of Pope Cle constantly represented in devotional art.
ment, who is Their characteristics are the following :
said to have they are h u m a n in form and winged ;
been tied to an they are always young and masculine,
anchor and and are draped generally in white.
thrown i n t o They are the messengers of God, the
the sea in the rulers of the stars and elements, the
year 80 A.D. It guardians of the just, and the choristers
is also a of Heaven, in which last capacity they
charge in he are frequently represented with various
raldry, which musical instruments. In Christian archi
unless other tecture they fill up every space ; they are
wise specified found on friezes, in the spandrils of
is represented arches, and as corbels ; they also hold
in pale (q.v.) emblems, labels with inscriptions, and
and without a candlesticks. They have been repre
cable. sented pictorially by many artists from
Ancones. the earliest times down to William Blake,
(Arch.) Sup whose drawings of angels are full of
ports placed originality and poetry. Their attributes
in doors and other apertures under the are trumpets, flaming swords, sceptres,
cornice. censers, and musical instruments.
Andirons. Utensils of metal, placed on Angle. T h e inclination of two straight
the hearth in old houses for the purpose lines to another. An angle is rectilinear
of holding logs of wood and aiding in their when the lines which contain it are
combustion. Though generally of iron, straight lines. It is called curvilinear
14
ANG ART DICTIONARY. ANI
covered both in ancient times and in intersection of the shaft of the column
the Middle Ages. Examples of them with the capital. In Gothic
exist in the temple of Belhus, while the monuments of the 12th and
façades of our own Gothic cathedrals 13th centuries annulets are
are sometimes entirely covered with found distributed at different
grotesque figures, the symbolic meaning heights along the shaft of the
of which has been interpreted in various column, so as to slightly in-
ways by archeologists. terrupt the lines of the column
Animation. (Paint.) Certain qualities and to increase its appearance of resist-
of vivacity, quickness of imagination, ance.
and execution which a skilful artist Annunciation. This event in the life
can put into his work. T h u s we speak of the Virgin is frequently treated in
of a painter having more skill than Christian art. As a mystical subject it
animation. almost always formed part of an altar-
Anime is a resinous gum which is mixed piece, whatever its subject, being let in
with copal varnish to make it dry quicker. either in the spandrils or the predella.
Anklet. A gold ornament worn by the As an event the annunciation is a
Egyptians, Greeks, and Romans just frequent subject of the early painters.
T h e scene is laid in a house or porch,
and the accessories are a pot of lilies,
a basket of work, or distaff. T h e angel
is represented as descending to earth
and generally carries a lily or a sceptre,
the latter being surmounted by a cross.
Antae. (Arch.) Pilasters increasing
above the ankle, as a bracelet is on the the thickness of a wall at the angles of
arm. a building. In classical architecture a
Anne, St. T h e mother of the Virgin temple is said to be in antis when the
Mary. She is frequently represented in
pictures of the Holy Family, and is
generally reading a book.
Annealing. T o prevent glass and cer-
tain metals from becoming suddenly
brittle after melting they undergo a façade is decorated by two columns of
process called annealing. This process the same thickness as the pilasters or
consists in placing glass vessels in a hot antae, which they help in supporting the
oven, where they take several hours or beams and roof of the temple.
even days to cool, and in heating metals Ante-chapel. (Arch.) T h a t portion of
again after hammering. a chapel which lies to the west of the
Annodated. (Her.) Bent like the let- choir-screen.
ter S. Antefixae. (Arch ) Ornaments which
Annulated, Annuly. (Her.) Said of a
charge which has an annulet at each ex-
tremity.
Annulet. (Her.) A ring, used either as
a charge or as a mark of difference of
the fifth son.
Annulets. (Arch ) Small projecting
mouldings in the shape of a ring, which
in the ancient orders are found at the generally take the shape of a palm leaf
16
ANT ART DIC TIO NARY. ANT
19
AQU ART DICTIONARY. ARC
ancient temples which have no lateral of the Renaissance Arabesques were
colonnades. wonderfully rich and
Aquatint. (Engrav.) A process of en elegant Raphael
graving by which sepia drawings can be employed this sys
reproduced with great accuracy. T h e tem of ornament in
copper plate, before being exposed to the decoration of the
the action of the acid, is covered by Loggia at the Vati
powdered mastic. This prevents the can. It is a mistake
aqua-fortis from acting upon it, and a to apply the term
mottled surface is thus produced. Arabesque to the
Aquae-manalis. A vessel used in friezes of buildings
churches for washing the hands by the belonging to the Ro
celebrant of the liturgy. man period. The
Aqua-fortis. Diluted nitric acid, regular bands of or
which is used by etchers for biting in. nament in vogue at
Aqua-marina. A gem of a green tint, this period can only
often used by gem-engravers in ancient be termed foliage.
times. Ar a e ο s t y l e .
Aqueduct. Constructions either (Arch.) A temple is
above or under ground employed to called araeostyle,
conduct water. Aqueducts of Roman when the distance
construction, some of which are still in between its columns
existence, are absolute monuments of is more than three
art, and in some cases harmonise won times the diameter
derfully with the lines of the landscape. of the column.
In modern times aqueducts are built Araeosystyle.
from the designs of engineers, and are (Arch ) A term ap
as a rule nothing more than water-pipes plied to an arrangement of columns set
of immense girth. They are generally two and two together, having half a dia
carried underground that they may meter for the smaller interval, and three
escape the frost in winter and that the and a half diameters for the larger.
water they convey may be kept cool in Arbalest. T h e name given in the
summer. Middle Ages to the cross-bow, a weapon
Arabesque. A system of ornament which was invented by the Romans in
consisting of wreaths of foliage and the East, and called by them arca-balista.
realistic or fantastic figures, combined in It was introduced into England at the
an absolutely capricious style, delicately Norman Conquest, but its use was
interlaced and describing graceful curves. prohibited by the Church in 1139.
Richard I. reintroduced the arbalest into
England, and was killed by one as a
judgment, it is said, for using a pro
hibited weapon " in defiance of God."
Arcade. (Arch.) A series of arches,
which are employed for decorative
purposes chiefly in buildings of the
In the Arabian style Arabesques are Pointed style. T h e term includes the
composed entirely of ornaments drawn large arches and piers which in many
from the vegetable kingdom, for repre English cathedrals separate the aisles
sentations of men and animals were from the nave ; but it is especially applied
forbidden by the prophet. In the style to series of arches which decorate the
20
ARC ART DICTIONARY. ARC
space under the windows either within architecture. T h e highest point of an
or without the building Sometimes arch is called the crown or vertex ; the
arcades are set right against the wall, lowest line is termed the springing line ;
sometimes they are detached so that the spaces between the vertex and the
there is a clear space behind them. springing line are called the flanks. T h e
When set near the ground they frequently upper and lower surfaces of an arch are
called the extrados and intrados respec-
tively. T h e piers of an arch are termed
abutments or springing walls. The
stones of which an arch is composed are
termed voussoirs, and the top stone of
all, the key-
stone. The
term arch is
also applied
to the vault of
abridge. T h e
highest and
largest arch
in a bridge is
called the main arch, and occupies the
project so as to form sedilia. An arcade centre of the bridge.
sometimes occupies the triforium space Arch, Angular. An arch formed by the
(q.v.), an instance of which may be seen
in the Temple Church. Finally, as a , * * • : . * · · .
with the angles rounded off into segments sists of a segment of a circle, greater
than a semicircle.
23
ARC ART DIG 70NARY. ARC
24
ARC ART DICTIONARY. ARC
tance as that at which the spectator is the 14th century it is decorated with as-
placed from the painting or decoration. tragals, and in the 15th century is deeply
Architecture, Military. Architecture cut out. In the Arabian style archi-
applied to military constructions. volts frequently consist of stucco tra-
—, Religious. The art of architecture ceries. T h e term archivolt is frequently
applied to religious constructions. used by mediaeval writers to mean a
Architrave. (Arch.) T h e lower part of mere vault.
the entablature. The architrave is placed Archway. (Arch.) A circular opening
directly on the capital with a free bearing
from column to column or pilaster to
pilaster. In the Doric
order the architrave
is simply one smooth
block. In the Ionic
order it is composed
of three blocks, each
jutting slightly beyond the one under-
neath it. Generally speaking the archi- which assumes the various forms of the
trave is unornamented, so as to form a arch.
contrast to the rich decoration of the —, Twin. An opening which presents
frieze. This simplicity renders it quite the appearance of two archways of similar
clear that the purpose of this portion of
the entablature is to form a horizontal
connection between the vertical supports
of the structure.
Archivolt. (Arch ) A moulding decora-
ting an arch
and corres-
ponding ex-
actly to the
contour of the dimensions, placed side by side, or an
arch. In an- opening formed by two semi-circles,
cient architec- which touch at one of their extremities.
ture the archi-
Arcs d o u b l e a u x . [Ribs, Transverse.]
volt only deco-
Arena. (Arch.) T h e space reserved in
rates one side
the Roman circus for races and gladia-
of an arch In buildings of the Gothic
torial combats. T h e term is also applied
style, however, the same moulding is gene-
to entire buildings which are employed
rally repeated v
as circuses or amphitheatres.
on each side of \
Areotectonics. T h e application of
the arch. T h e
military architecture to the construction
outline of the
of fortifications.
archivolt var-
Ares. T h e Greek god of war. H e is
ied consider-
represented in art as a youth of powerful
ably in the dif-
frame, wearing a helmet and carrying a
ferent periods
shield and spear. A burning torch and
of Gothic ar-
a spear are his attributes, while he is
chitecture. In
symbolised by a vulture and a dog.
the 13th cen-
Argent. (Her.) T h e metal silver. It
tury it is of the utmost simplicity ; in
is generally written ar. In engraving
3
2
5
ARM ART DICTIONARY. ARM
Britons were headed with flint or bone, Asp. In Christian Art the asp symbo-
those of the Saxons and Danes with iron. lises malice. It is frequently placed be-
By the latter peoples they were chiefly neath the feet of saints, bishops, and even
used for the chase. T h e Normans used
arrows with deadly effect as weapons of
war, and after the conquest the English
became expert bowmen, the ' ' cloth-yard ' '
shaft of the English yeoman being very
celebrated in the Middle Ages.
Artemis. T h e moon-goddess and pat-
roness of hunters. T h e Ephesian Arte-
mis, of Eastern origin, is represented as
wearing a mural crown with a disc, as the
emblem of the full moon. Her legs are representations of Faith, Charity, & c , to
swathed and ornamented with figures of indicate their triumph over evil. Our
bulls, stags, bees, and flowers, and she is illustration is taken from the monument
many-breasted. In Greek Art she gene- of a bishop in the Temple Church.
rally figures as a huntress. T h e inci- Aspectant. (Her.) Face to face.
dent of Actaeon being turned into a stag Asperges. T h e rod used for sprink-
and torn to pieces by his own hounds for
gazing on Artemis in her bath, is a
favourite subject both in vase-paintings
and bas-reliefs. Stags and dogs were
sacred to her.
Artisan. A name formerly applied to
artists, but now only given to those work-
men employed in various mechanical ling the holy water in the service of the
trades who possess some special skill, in Roman Catholic Church.
which, however, invention plays no part. Asphalt. A bituminous material used
T h e artisan's business is to translate in as mortar by certain Eastern peoples, and
various materials the artist's design. employed in our times as a covering for
Artist One who practises the fine arts. such surfaces as walls, causeways, and
Artist's Proof. [Proof.] roads.
Aryballus. An antique vase, which Asphaltum. A brown pigment used
was used to draw liquids from in the arts. T h e best kind comes from
vessels of a larger size, and also Egypt.
to hold the oil with which Assemblage. Method of joining tim-
bathers rubbed themselves ber-work and carpentry. T h e r e are
down. It was almost spherical several methods of assemblage, such as
in form with a narrowed neck and a
small handle.
Ascus. An antique vase in the form of
a hemisphere, having a neck
and a semicircular handle.
It was supposed to resemble
a wine-skin in shape, and
was used to hold liquids. by mortise and tenon, dovetailing, & c ,
Ashlar. (Arch.) Stones hewn and cut but the study of their peculiarities
square for use in buildings, opposed to belongs rather to construction than to
rough stones straight from the quarry. art.
28
ASS ART DIC 10NARY. ΑΤΗ
their finest models. Many statues of tablature above the cornice. Its pur-
athletes have come down to us, and are pose is to hide the roof and add dignity
marked by distinct characteristics, such to the design. T h e name attic is also
as short hair, sturdy limbs, powerfully given to the top story of a building when
developed body, and small heads. Ath-
letes are also often represented with
their attributes on Greek vases. T h e
study of the athletic type exercised a
decided and important influence on
Greek art.
Atlantes. (Arch.) T h e athletic male
figures in a standing or
kneeling posture, em-
ployed as supports in
some ancient Greek
temples. T h e word is
derived from A tlas,
whom the ancients it is only one-half or at most two-thirds
figured as holding the of the story below it. A good specimen
earth on his shoulders. of an attic is to be seen in Somerset
In Roman buildings House in London, on the side looking
these figures were called towards the Strand.
Telamones. T h e tepi- Atticurge. (Arch.) A square support,
darium in the public baths at Pompeii such as a pedestal, pillar, or pilaster.
was decorated with figures of this kind. Attired. (Her.) As a lion is said to
Atrium. (Arch.) In Roman buildings be armed (q.v.) of his claws, so animals
the atrium was a central court sur- with ornamental weapons of defence
rounded by a colonnade, round which such as stags are said to be attired.
the smaller rooms were grouped. It Attitude. (Paint.) T h e attitude, the
was a kind of vestibule, pose, the movement of a figure should
either open to the sky always be true to nature, and at the
or covered with a cur- same time should afford the artist an
t a i n . I n B y z a n t i n e I **· " ' l · opportunity for drawing beautiful lines.
architecture the atrium Attributes. (Paint.) Attributes in
is the courtyard outside a building. painting are those accessories which
Such is the atrium of the mosque of St. give character to a scene or figure. In
Sophia, which is surrounded by Ionic a portrait, for instance, should the
columns and decorated with basins of model be a literary man, he should be
jasper. surrounded with books, if a painter with
Attachment. Attachments in ana- pictures, &c. Discretion and tact must
tomy are the points to which the muscles be exercised as well in the grouping of
or ligaments are fixed. In the language the attributes as in their choice. In
of Art we particularly mean by attach- decorative art we speak of a group of
ment the way in which a limb is set on attributes. In this case the word attri-
the body. T h u s we say a piece of sculp- butes denotes the instruments and acces-
ture has delicate attachments if the sories characteristic of an art, a profes-
limbs are well set on the body, and that sion, or even a sport—the attributes of
the attachments are bad when they lack painting, for example, of sculpture, of
style and show signs of careless study. fishing, of the chase, &c.
Attic. (Arch.) T h e part of the en- Augmentation. (Her.) An honour-
3°
AUR ART DICTIONARY. AZU
able addition granted by a sovereign for stone, and by means of another stone
distinguished services. For instance, any number of prints can be struck off.
the Duke of Wellington was allowed to T h e advantage of autography is that it
charge upon an inescutcheon the Union is a process which any one can employ
Jack. This was an augmentation. who can draw with pen and ink, and
Aureole. An aureole in the language that the original can be exactly repro-
of art is the luminous duced ; its drawback is that, except
circle which surrounds when handled by skilled specialists, the
the head of deities or prints furnished by this process are apt
saints represented in pic- to be blotchy and blurred.
tures or stained - glass Avantail. T h e front of a helmet
windows. Sculptors, too, sometimes which could be pushed back at pleasure.
In a helmet which covered the whole
31
AZU ART DICTIONARY. BAD
32
BAD ART DICTIONARY. BAL
33
BAL ART DICTIONARY. BAL
balustrades of wood, stone, or iron, and so were marked out for special protec-
are supported by props of wood or tion.
iron, or in the case of more ambitious
structures, by consoles of stone. In thea-
trical architecture the galleries which
run round the theatre are called bal-
conies.
B a l d a c h i n o . A richly ornamented
canopy, suppor-
ted by columns,
suspended from
the roof or pro-
jecting from the
wall. T h e bal-
dachino of St.
Peter's at Rome,
which dates from
the 17th century,
and is the work
of Bernini, mea-
sures about a
hundred feet in
height, and is the largest work in bronze Ball-flower. (Arch.) An ornament
of its kind in the world. In addition to frequently employed
monumental bal- in Gothic architec-
d a c h i n o s , c o n - ture, consisting of a
structed of metal bead or ball partially
or wood, we find enclosed in a round
examples entirely cup or flower, some-
composed of dra- times perfectly spheri-
peries tastefully cal, sometimes open. T h e name is also
arranged and of given to any projecting circular decora-
the richest tex- tion, either plain or ornamented.
tures. T h e seats Ballistraria. An opening in a wall in
Of priests and 1 the shape of a cross.
princes, as well as These cruciform loop-
altars, are fre- holes were especially de-
quently covered with baldachinos. T h e signed for the discharge
name was also given to the rectan- of missiles from cross-
gular or circular coverings, adorned bows. It was possible
with plumes, which were placed over to shoot arrows from
the beds of the Louis XIV. period. them in several direc-
B a l d r i c . A broad belt attached tions ; on the inside they
to the shoulder and passed dia- were often splayed.
gonally across the body on to the op- Ballium, or Bailey. (Arch.) T h e area
posite hip, by which swords, daggers, situated between the outer walls of a
& c , were suspended. It was fre- fortress or castle and the keep. Some
quently ornamented with jewels, and mediaeval castles had double ballia, an
denoted the rank of the wearer; on example of which is to be seen in the
battle-fields surgeons wore it, and Tower of London.
34
BAL ART DICTIONARY. BAN
35
BAN ART DICTIONARY. BAP
the curve of an arch. I t is frequently illustrious marriages of the deceased's
ancestors.
36
BAR ART DICTIONARY. BAR
richly decorated, and covered with a generally built in the Middle Ages at the
movable baldachino of entrance to a bridge, town, &c.
elaborate workmanship.
These baptisteries were
placed either in a chapel
or near the entrance of
the church. Among sepa-
rate buildings serving as
baptisteries that at Flo- Barbotine. A kind of paste reduced
rence must be placed to a pulp out of which certain figures
first. It is decorated with
may be modelled. T h e name is in the
-'" - mosaics and its entrance present age almost exclusively given to
is closed by the celebrated bronze gates vases decorated with flowers and leaves
of Lorenzo Ghiberti and Andreas of in high relief and variously coloured.
Pisa. Barded. (Her.) A term describing a
Bar. (Arch.) A name given to gate- charger caparisoned.
ways in the walls of towns such as were Barge-board. A broad board, gener-
erected in the Middle Ages. (Her.) An ally richly carved, placed in front of a
honourable ordinary, drawn horizontally, gable. It was used from the 14th century,
occupying one-fifth of the field ; a dimi-principally in domestic architecture, or
nutive of the fess. in churches with timber porches. Its
Barbadoes Tar, or Jews' Pitch, is chief value is decorative not structural.
really asphalte and is employed in Barge-course. T h a t portion of the
the manufacture of the black varnish tiling of the roof which projects beyond
used in photography. In the process the roof. T h e barge-board (q.v.) is
of heliogravure it is the base which is placed beneath it.
exposed to the action of the light. Barnabas, St. Apostle and martyr,
Barbara, St. A virgin martyr who companion and fellow-traveller of St.
suffered martyrdom in the year 383 A.D , Paul. H e suffered martyrdom by ston-
having been converted to Christianity ing in Cyprus, where he was born,
by Origen, and so having incurred the about the year 60 A.D. H e is repre-
anger of her father and the pro-consul sented as a man of dignified presence
Marcian. She is one of the patron holding a stone, the symbol of his mar-
saints of Mantua. H e r chief attribute tyrdom, and the preacher's staff: but
is the tower, in which she was impri- pictures of him are seldom met with.
soned by her father, and in addition the Baroque. A term used in decorative
sword, the palm-branch, and the crown art to denote a class of ornamental de-
of martyrdom. In reference to the signs, in which everything is sacrificed
belief that those who worshipped her to give an impression of richness,
should not die without the sacrament meaningless dis-
she carries a chalice. She is the play being more
patroness of fire-arms and the protect- considered than
ress against sudden death. refinement and
Barbe. A piece of linen worn by a p p r o p r i a t e -
women in the 15th and 16th cen- ness. [Rococo.]
turies, either over or under the chin, Barrel-vault.
according to the station of the wearer. (Arch.) A vault
Ladies of high degree wore it above the 1 b u i l t i n t h e
chin. shape of a surmounted arch (q.v.), its
Barbican. A small tower of defence, I height being greater than its breadth.
37
BAR ART DICTIONARY. BAS
T h e barrel-vault sometimes has the ap the 12 th century. In the 14th century
pearance of a hollow semi-cylinder. It they were con
is also called " Waggon-head Vaulting." structed with a
Barrow. A term given by archaeolo view to defence
gists to the mounds of earth heaped up and pierced
in ancient times over the remains of a with loopholes,
great warrior or otherwise distinguished and then as
person. T h e r e are many barrows in ex sumed especial
istence in England, and they are the old importance.
est monuments which have come down to Basalt. A
us. Among famous European barrows hard compact
the three at Gamia Upsala, in Sweden, stone of a grey
should be mentioned, which tradition ish-black hue,
asserts are the burying-places of the tinged with
gods Odin, Thor, and Freya. copper colour,
Barrulet. (Her.) Diminutive of bar, out of which
of which it is one-fifth in width. the Egyptians
Barry. (Her.) Said of a shield divided carved statues and constructed palaces
horizontally or barwise. and temples.
Barry-bendy. (Her.) Divided by lines Bascinet. A helmet
horizontally and diagonally into a num worn during the 14th
ber of equal parts, alternating the tinc century, spherical in
tures. shape, sometimes plain,
Barry-pily. (Her.) Said of a shield sometimes fluted. T h e
covered with piles placed bar-wise. crest of the wearer was
Barry-wavy. (Her.) Said of a shield often placed on the top.
covered with undulating lines. In warfare a helmet was
Bars Gemelles. (Her.) A term applied worn over it.
to beads or bars arranged Base. (Arch.) T h e sub-basement of a
two and two on a shield. building. This pro
When two bars gemelles are jecting sub - base
placed on a shield, the dis ment is often en
tance between them is al riched with mould
ways greater than the ings. In the Arabian
Λ Λ
' ' distance between the two style the bases of
charges themselves. columns generally
Bartholomew, St. Apostle and mar c o n s i s t of v e r y
tyr, was crucified head downwards ac simple mouldings.
cording to one account, or flayed alive —, Attic. A base consisting of two
according to another, at Albanopolis, in tori and a scotia.
Armenia. H e is represented in art as T h e attic base
holding a knife, with reference to his possesses consi
cruel torture, a book, St. Matthew's Gos derable elegance,
pel, and a h u m a n skin, sometimes with and is used in
the face attached to it. the Ionic, Corin
Bartizan. (Arch.) A corbelled out thian, and Composite orders.
turret of stone surmounted by a conical —, Composite. A base formed of wo
roof, and placed either at the angle of tori, one astragal, and two scotiae.
walls or at the summit of towers in —, Continuous. A moulding forming a
mediaeval castles. Bartizans date from base, running the whole length of a build-
38
BAS ART DICTIONARY. BAS
ing and following the projection of the Base, Ionic A base consisting of a
columns or pilasters which adorn a torus and two scotiae separated by many
façade. smaller mouldings.
—, Tuscan. T h e base of the columns
of the Tuscan or-
der. It consists of
a fillet, a torus,
and a plinth. Ac-
cording to Vitru- Λ}·
vius the height of
Tuscan base ought to be equal to half its
Base, Corinthian. A base consisting thickness.
of two tori, two astragals, and two Base-court. In the military architec
scotiae, frequently replaced by the Attic ture of the Middle Ages this name was
base (q.v.). given to the courts surrounded by towers
— of a pediment. T h e moulding of and ramparts of defence.
a cornice which forms at the same time Basil, St. Bishop of Caesarea, was
the base of a pediment. born 328 A.D. and died 379. Artistic
—, Doric. A base consisting of two representations of this saint are rare.
fillets, a torus, and a plinth. Though One of the mosaics at St. Peter's in Rome,
this base bears the name of Doric, it must designed by the French painter Subley-
be added that it never occurs in ancient ras, represents the most dramatic scene
Greek buildings and is only characteristic in St. Basil's life—the Emperor Valens,
of Roman jporic. Greek temples of the namely, swooning with rage at St. Basil's
Doric order are of great purity of line— refusal to depart from the orthodox
such as the Parthenon for instance—and ritual and administer the rites after the
their columns, which are remarkable for custom of the Arians.
the elegance of their outline, have no Basilica. (Arch.) Among the Greeks
other base than the flight of steps run- and Romans the basilica was a building
ning round the building. with side aisles, a tribune, and an apse,
—, Gothic. Gothic bases are very where justice was dis
varied in form. In the very earliest pensed and public busi
period they are rude imitations of an- ness transacted. T h e name
cient bases. In the ioth century they was afterwards given to
consisted of fillets and combinations of Christian churches from
particular mouldings. In the 12th cen- the 4th to the n t h cen
tury the space left between the circular tury, which were built with
torus and the square plinth was filled by some modification of detail on the plan
an ornament of foliage. In the 13th cen- of the ancient basilica. To-day the word
tury this foliage ornament disappeared, basilica is used to denote Catholic cathe
the plinth became polygonal, and the drals of vast dimensions without re
torus sometimes projected beyond it. In ference to the period of their construc
the 14th century the mouldings forming tion. T h e apsidal termination seen in
the base begin to lose their height and many Gothic churches was derived from
projection, and finally in the 15th cen- the basilica. [Apse.]
tury the principal base is broken by the Basilidian Gems. [Abraxas Gems.]
intersection of smaller bases. In the Basilisk. A legendary creature said
16th century before the revival of the to have been hatched from the egg of a
ancient orders Roman and Gothic bases hen thirty years old by a toad under
are mixed. [ G o t h i c ] water. It was of enormous size, with the
39
BAS ART DICTIONARY. BAS
body of a cock, beaked and clawed with Bas-relief. (Sculp.) A sculpture exe-
brass, and with a tail consisting of three cuted upon and at-
serpents armed with sharp points. It tached to a flat or
destroyed everything it glanced at, and curved surface. Its
could only be killed by gazing on its own projection from this
reflection in a mirror, when it burst with surface is less than
rage. In early Christian art it is the that of the mezzo-
symbol of the Spirit of Evil. relievo or the high-
Basket. In Christian art a basket is relief. Pictorial or con-
the attribute of several s a i n t s : for in- tinuous subjects are
stance, St. Dorothea is represented hold- best suited to repre-
ing a basket of flowers and fruit. sentation in bas-relief,
Basket. (Arch.) T h e part of the and the finest extant
Corinthian capital to which the acanthus specimen of this kind of sculpture is the
leaves are applied. T h e term probably frieze which ran round the cella of the
Parthenon, a large portion of which is
now among the Elgin marbles at the
British Museum.
Basterna. A kind of palanquin in the
form of a covered carriage borne by two
mules, one in front and one behind. It
was chiefly used by women. Our illus-
40
BAS ART DICTIONARY. BAT
holds. It is specially applied to the citadel bend, being one-fourth of the width of
erected in Paris in 1369, which was en- that charge.
larged in 1383, and in 1553 comprised Batter. (Arch.) T h e inclination given
eight towers connected by curtains of the
same height. For many years it served
as the state prison, and was destroyed at
the outbreak of the Revolution in 1789.
Bastion. (Arch.) An outwork placed at
the angle of a fortified enceinte, present-
cms periods and styles there are various tecture the divisions formed by the
kinds of battlements. Some, and these arcades of nave, cloister, or gallery are
are the most common, have square mer- called bays. T h u s we speak of a nave of
lons, in others the merlons are pointed,
indented, or pyramidal-shaped, while the
profile of some resembles that of wall-
copings. Battlements were most often
employed in the Middle Ages. They eight bays. In classical architecture the
are also found as parapets in reli- term is applied to the space between two
gious buildings. In the 16th century pilasters.
battlements of wood were used as decora- Bay Window. A rectangular or poly-
tion. The word battlement, now applied gonal window which projects from an
to the entire parapet, once only desig- apartment and so forms a recess. It
nated what are now called the merlons came into use about the 14th century,
Battle-piece. A picture belonging to and was generally found in the hall,
that class of painting which is specially being situated at one end of the dais.
devoted to the representation of battles Sometimes a hall had two bay windows,
One of the most famous battle-pieces in one at each end of the dais. Good ex-
existence is the admirably executed amples of bay windows are to be seen in
mosaic representing the Battle of Issus college halls. For instance, there is a
discovered at Pompeii, which is particu- very fine one at each end of the high
larly interesting as being a translation table at Trinity College, Cambridge
into mosaic of a painting by a Greek Bayeux Tapestry. T h e Bayeux ta-
artist named Helena. Among other pestry is one of the most interesting
celebrated battle-pieces we may mention
those by Wouvermans, the battles of
Constantine by Raphael, and Le Brun's
battles of Alexander
Baudekyn. A term which is said to
be derived from Baldeck or Babylon, and
designates a woven stuff which was intro-
duced into Europe at the time of the
Crusades. Gold thread was frequently
used in its manufacture, and sometimes
it was richly embroidered. It was origin-
ally only used for regal garments, but
afterwards for priestly vestments.
Bay. (Arch.) A rectangular or curvi-
linear opening in a wall. When a bay
serves as a door the lower part of it is
called the groundsill, when it serves as a
window the lower part is called the sill.
T h e upper part of a bay is called the monuments of the Middle Age?. I t is a
lintel when it is horizontal, and the arch long roll of canvas, seventy yards long
when it is curvilinear. In Gothic archi- and more than half a yard wide, on
42
BAZ ART DICTIONARY. BEA
43
BEA ART DICTIONARY. BEL
began to degenerate, for then a tendency term also denotes the timber-work in
sprang up to render animals realisti side a clock-tower.
cally, which is clearly out of place in
an art so purely conventional as that of
heraldry.
Beaver. T h e lower part of the face-
guard of the helmet, introduced in the
14th century. It could not be moved up
and down, and when Shakespeare says,
" He wore his beaver u p , " he is con
fusing it with the visor (q.v.).
Bed. (Arch.) A term denoting the
horizontal surface of a stone; thus we
speak of the upper or lower bed.
As an article of furniture the bed has Bell. I n Christian art the attribute
always been of importance. T h e Greek of St. Anthony (q.v.).
bed was very simple in construction, con Bell. (Arch.) A term applied to the
sisting simply of an oblong plank on four ornamented part of a capital (especially
legs; the material used was generally in the Corinthian order) which somewhat
wood, and the coverings were very sim resembles a bell in shape. It is also
ple, being generally skins or long-haired termed the basket.
woollen blankets ('ρήνεα). T h e Roman Bell Canopy. A stone or wooden
beds resembled the Greek in shape, but structure shaped like a canopy under
were far more costly and elaborate. which a bell is placed.
They were made of rare woods, fre Bell Cot. A small structure terminating
quently inlaid with ivory and tortoise- in a spire, in which a bell is hung.
shell, of bronze, or even silver, while Belled. (Her.) A term ap
their legs were carved in all kinds of plied to figures of animals
fantastic shapes. T h e mattresses were represented with a bell round
stuffed with straw, wool, or down. T h e their neck. T h u s we say a
beds of the Middle Ages were generally cow gules belled in azure.
in the form of a shallow box with raised Bell Gable. A stone
ends. After the Norman period beds structure terminating
were often decorated with carvings, in a gable and pierced
surmounted by canopies, and draped with openings, in
with beautifully embroidered stuffs. In which bells may be
Renaissance times beds were still works placed.
of art, but at the end of the 16th cen Bell Turret. (Arch.)
tury comfort alone was aimed at, and A pyramidal structure
hangings, & c , became more important of several sides,
than the bed itself. shaped like a small
Bees. In Christian art an attribute steeple, terminating
of St. Ambrose (q.v ), and generally a pier or flanking the
speaking of saints celebrated for their angles of a steeple.
eloquence. Some bell turrets of
Belfry. (Arch ) A tower on the out the n t h century are
side of a town, or on a castle or church. square ; these, how
During the Middle Ages watchers were ever, are rare. Those
placed in the belfry, as well as a bell on of the 12th century
which an alarm might be sounded. T h e are of delicate pro-
44
BEL ART DICTIONARY. BER
portions and often octagonal. After the of the Middle Ages coffers played
13th and 14th centuries they became the part of benches. Churches were
more slender, and their arrises were not furnished
ornamented with crotchets. At the with benches for
Renaissance they disappeared alto- the faithful until
gether. the 16th century.
Belt. (Arch.) A slightly projecting In the parks and
band running round a tower or turret is gardens of the
termed a belt. The term band (q.v.) or 17th century we
string course, however, is now generally find benches of
used. stone or marble,
In costume a belt is a cincture worn elegant in out-
round the hips, often highly ornamented. line and deco-
From it were suspended the sword and rated with much skill and care. In the
dagger. In the 14th and 15th centuries present practical and economic age
it was a mark of knighthood, and so artistic benches have been replaced by
was often worn as a mere badge without cast-iron supports, upon which planks of
any arms attached to it. wood are screwed, to serve as seat and
Belvedere. A covered terrace. A back.
kind of pavilion or prospect tower Bench Table. (Arch.) T h e table of
placed on the roof of a building, so that stone which projects from the interior
wall of a building and forms a seat. In
many cases a blind arcade runs along
above it and the base of the columns
rest upon the bench table.
Bend. (Her.) An ordinary, crossing
the shield diagonally from dexter to
sinister, and occupying when charged
one-third of the shield, when uncharged
one-fifth.
Bendlet. (Her.) An ordinary, half the
width of the bend.
Bendy. A shield having several bends
may be described as bendy.
Benedict, St., was born 480 A.D., and
was the founder of the Benedictine order
a spectator may obtain from it a widely of monks. H e established several mo-
extended view of the surrounding coun- nasteries, in which the strictest dis-
try. cipline prevailed. His attributes are
Berna. (Arch.) A n a m e given in a cup on a book, a raven with bread
ancient architecture to the orator's in its bill, and a sieve. H e is repre-
tribune or the proscenium of theatres. sented as surrounded by nettles and
In early Christian buildings in the East thorns, indicative of his ascetic life,
it designated the pulpit, the sanctuary, and he carries the asperges and pastoral
and the throne of the bishop placed in staff.
the apse. Benetier. [Stoup.]
Bench. A seat to hold several per- Benzoin. A balsam, used as an in-
sons formed of a slab of stone or gredient in spirit varnishes.
wood, sometimes with and sometimes Beryl. A precious stone of a bluish
without a back. In the dwelling houses reen tint, called also aquamarine. This
45
BES ART DICTIONARY. BIF
stone was used by the Greeks for in I ment, prepared from slack lime and
taglios, and was much prized by the water, which is of great value in fresco
Romans. painting.
Bestiarium. A term used to denote Bibelots. By this term we understand
poems of the 12th and 13th centuries, any object which is used to decorate a
which created a kind of mystic zoology, whatnot, a chimney-piece, a sideboard,
and gave rise to the allegorical repre or the surface of a wall. Bibelots are,
sentation of the virtues and vices of according to the taste of the collector,
mankind under the form of animals. It bronzes, faïence, arms, works of Chinese
was the bestiario,, according to some or Japanese art, or a thousand other
archaeologists, which inspired the enig curiosities. In fashionable houses all
matical bas-reliefs which decorate so possible corners are crammed with them ;
many Gothic monuments. Other writers, they are piled one upon another or heaped
however, regard these reliefs as pure up in pyramids. They form a distinct
works of the imagination or as vague subdivision of curiosities. They have
reminiscences of illiterate men, who their own bibliography and authors de-
could not understand the bestiaria, the voted to their discussion, and thanks to
interpretation of which is difficult even fashion there is scarcely a house which
to scholars. in some degree or another is not an
Beton. (Arch.) A mixture of peb asylum for bibelots.
bles and limestone mortar, of which Bice. (Paint.) An obsolete term which
the foundations of buildings are com once denoted a blue pigment prepared
posed. from lapis armenius. Green verditer is
Bezants. (Her.) A subordinate sometimes called green bice.
charge in the shape of a disc and Bickern. T h e extremities of an anvil
always of metal, i.e. of or or argent. It is on the bickern that
There are never more than eight bezants pieces of iron are curved.
on one shield. In architecture the term Bickerns vary in form,
is applied to a simple ornament consist they may be round,
ing of roundles or discs on a flat sur square, pointed, &c.
face. Biclinium. A hybrid word, half Latin,
Bezants-tourteaux. (Her.) Discs, half Greek, denoting a couch or sofa in
half of metal and half of which two persons might sit or recline
colour. For instance, we at table.
speak of Bezants-tourteaux Β i-c o r ρ o r a t e . (Her.) Having two
of argent and gules, vert bodies joined in one.
and argent, &c. Bidental. (Arch.) A shrine or small
Bezel. A metal mount- temple consecrated by the Roman augurs
ing, either pierced or solid, ^ Λ on a spot which had been struck by
generally in the shape of a disc, on lightning. T h e name originated in the
which precious stones are fixed when custom of sacrificing a sheep two years
they are going to be mounted in rings or old in such shrines
other ornaments. Bifoil. T h a t which has two foils or
Biacca. (Paint.) T h e Italian term arcs.
for white lead, used for painting in secco Bifrons. (Sculp.) A double-faced bust
but not in fresco representing two persons with different
Biadetto. (Paint ) An Italian term for features and as it were placed back to
a blue pigment derived from copper. back. T h e distinction between the two
It is synonymous with bice (q.v ). is often lost in the upper part of the head
Bianco Secco. (Paint.) A white pig- and in the hajr,
46
BIG ART DICTIONARY. BIR
47
BIR ART DICTIONARY. BIT
architecture birds are a frequent orna- large enough for two, as is suggested by
ment, and are generally symbolic. In its name, it was probably only used by
the Renaissance style they are purely one, the specimens found at Pompeii
decorative and conventional. having but one footstool in the centre.
Bird-bolt. (Her.) A flat-headed arrow Bishop's Length. A term applied to
used as a charge in heraldry. canvas of certain dimensions, 58 inches
Bird's-eye View. A method of draw- by 94-
ing by which objects are represented Bishop's Throne. T h e seat of a bishop
as though seen from an elevation, the placed in the choir of a cathedral church
point of sight being far above the objects from the 12th century onwards. In
represented. It is valuable principally some churches in Italy there are
in depicting groups of buildings or wide thrones decorated with mosaics. The
tracts of country. throne at Avignon is of veined white
Biremis. A vessel having two banks marble, while that at Toul is of stone
of oars placed diagonally one above the and dates from the 13th century. At the
end of the 14th century stuff canopies
were replaced by canopies of sculptured
stone. In the 15th century the throne
was placed among the stalls surrounding
the choir, and the bishop's throne could
only be distinguished from the others by
the richness of its ornamentation. In
the 17th and 18th centuries bishops'
thrones were often constructed with ca-
nopies of carved wood. In early times
in England they were called bishop's
stools.
other. Representations of the biremis Bistre. (Paint.) A brown colour gene-
are common on bas-reliefs, and one is to rally of a light yellowish tint. T h e artists
be seen on Trajan's column. of the last century prepared it in an ex-
Biscuit. (Pot.) A term applied to tremely simple way by boiling the soot
pieces of unglazed white faïence or porce- of wood in water, and have left us many
lain, the surface of which is neither sketches in bistre, some of which are in
enamelled nor painted. T h e term is also an admirable state of preservation.
applied to the double baking which some Biting-in. (Engrav.) A term used in
pieces of porcelain undergo. etching to denote the action of nitric
Bisellium. A seat of honour which acid diluted with water upon those
parts of the copper plate from which the
48
BIT ART DICTIONARY. BLE
49
BLE ART DICTIONARY. BOA
ing colours are blended by delicately coldness. T h e typical blues are Prussian
softening the colours into one another, blue, ultramarine, cobalt, and indigo.
and by gently mixing them with a light In the symbolism of early Christian art
brush passed over the surface. In water- blue, as suggesting the sky, is symbolical
colour or washed drawings tints are blen- of heaven and so of eternity, as well as
ded by means of fine brushes charged of piety, godliness, &c. It has always
with colour more and more diluted been adopted as the colour of the Vir-
with water and finally with pure water. gin's robe. On ceilings it is used to
Blender. [Badgers.] represent the sky.
Blind-story. (Arch.) A name some- Blue, Prussian. (Paint.) T h e Prussian
times given to the triforium (q.v.) of a blue used in water-colour painting is
church. It is so called as opposed to the of a greenish tint, but is easily laid on
clerestory which is above it and is and of wonderful transparency and per-
pierced with windows. manence. T h e Prussian blue used in
Blister. (Paint ) A term applied to oil-painting is one of the colours which
parts of a picture which swell, and so have the most body, and when mixed
become detached from the canvas or with white it produces tones of great
panel. intensity It is a compound of iron and
Block. (Sculp.) A mass of unhewn cyanogen, the base of prussic acid.
stone or marble. T h e piece of wood Blue-black. (Paint.) A cold black pig-
upon which engravers work is also called ment obtained from well-burnt charcoal.
a block. When mixed with white lead it produces
Block of buildings. (Arch.) A collec- silvery greys.
tion of build- Boar. In Christian art the boar is
ings forming a symbolic of sensuality and gluttony.
compact mass. Board, Leather. Board, in the paste
In the construc- of which scraps of leather are mixed. It
tion of new is used in the manufacture of orna-
streets or pub- ments which are moulded by a special
lic ways whole process.
blocks of Boards. A term applied to a method of
houses often bookbinding, in which the sides consist of
have to disappear. We speak of a block a thin board covered with linen or paper.
of buildings forming the angle of a street Boaster. (Sculp.) An instrument used
or of a block of houses isolated by four for working clay or wax. Boasters vary
streets. considerably in size and form. They
Bloodstone. A green jasper with red
spots upon it. In the Middle Ages it
was held in high honour, because it was
said to have been the stone which lay at
the foot of the cross and received the
blood which dropped from the wounds
of Christ.
Blottesque. (Paint.) Painted in heavy
blots or masses ; a term introduced into
the language of art criticism by Ruskin,
who opposes it to Dureresque. It first
occurs in " Modern Painters," vol. iv. generally consist of a short piece of
Blue. (Paint.) One of the three primary iron, wood, or ivory, rounded and slightly
colours, which possesses the quality of curved at one end and flat at the other.
50
BOD ART DICTIONARY. BOR
given to the systems of decoration which other ornaments placed at the intersec-
run round the edge of carpets, tapestry, tion of the ribs of a vault. In the 13th
hangings, pavements, & c , and form a century they were simply rosettes or
frame for panels, mosaics, &c.
Bordering Wax. (Engrav.) Green or
moulding wax which engravers use as
a border to their plates, thus transform-
ing them into a bath. Bordering wax
is awkward to handle, as it is glutinous
and sticks to the fingers when it is too
soft. It is made into small sticks,
which are flattened by the thumb, and
geometric patterns ; in the 14th century
placed vertically along the copper-plate
they became much larger in size ; and
so as to form a ledge. A key or piece
were superseded in the 15th and 16th
of hot iron is then passed over the wax,
which causes it to melt, and thus closes
up all the interstices by which the acid
might escape.
Bordure. (Her.) A belt at least one-
sixth the size of the shield,
which it completely sur-
rounds. T h e bordure is a
mark of difference of a centuries by flat rosettes, pierced and
younger son. Bordures com- bordered with ornaments. Sometimes
pony (q.v.) indicate the we find pendants in the place of bosses.
number of younger sons T h e lower surface of
there are in a family. the pendant projects
Boss. (Arch.) richly sculptured below the spring of the
stud employed vault, and is generally
to ornament terminated by an or-
doors, &c. Bos- nament in the form of
ses sometimes an agrafe. In build-
have a structural ings of the Gothic style
purpose, some- these bosses, which
times they are are really pendants placed at the key of
merely decora- the vault, are ornamented with rosettes
tive. T h e bosses and foliage, and are often of considerable
on the door of dimensions.
the Pantheon at T h e term boss in armour denotes the
Rome are espe- stud or projecting ornament in the centre
cially famous. T h e term is also applied of a shield or buckler.
Bossage. (Arch.) A term applied to
masonry, in which the angles of the
stones are cut off obliquely, so that when
they are laid side by side a space is left
between them, which gives them an
appearance of projecting.
to metal nails placed as ornaments on Bòttcher Ware. (Pot) A kind of
boxes, leather belts, &c. pottery of red unglazed clay, polished
It denotes in addition the rosettes or with a lathe. It was first manufactured
52
BOT ART DICTIONARY. BOW
in 1709 by Bôttcher, an alchemist who in Christian art the bow and arrows
was occupied in searching for gold.
Bôttcher also made the first white porce-
lain manufactured in Germany.
Bottega. An Italian word, literally
meaning " a shop," but generally applied
to the place where Italian artists
used to paint their pictures and
expose them for sale, as well as
instruct their pupils.
Botteroll. (Her.) T h e piece
of iron with which the bottom
of a scabbard is shod, used as a
charge in heraldry.
Bottony. (Her.) A term applied to a
cross, the extremities of which end in
trefoils or buds.
Boudoir. A name given to a small
room decorated in an elegant and refined
manner, where a lady receives her most
intimate friends.
Boulevard. Originally an earth-work
fortification, but in the present day an
avenue or walk planted with trees. symbolise the martyrdom of St. Sebas-
Bourdon. A tall staff, on which pil- tian.
grims are often represented as leaning Bowed. (Her.) A term applied to ser-
The scrip and purse were sometimes pents coiled up, with their heads coming
suspended from it. through the folds.
Bourse. (Arch ) A name given to Bow-drill. A tool, which consists of a
buildings containing large halls in shank of steel, furnished with a handle
which financial business is carried on. at one end. It is
Bow. (Arch.) An old term for an bent in the form
arch or an arched gateway. One of the of an arc by a
gates at Lincoln is still called " Stone piece of catgut.
Bow." By drawing the bow backwards and for-
As a weapon of defence the bow has wards, a circular movement is commu-
been used from the remotest times and nicated to the drill. T h e bow-drill is em-
by all nations. Our illustrations repre- ployed in all kinds of locksmith's work,
sent the Egyptian bow (1), the Greek but sculptors in stone, marble, and wood
(2), the Roman (3), and the Phrygian also find it of considerable use.
(4), which is almost crescent - shaped. Bowl. (Pot.) A round vase, without a
The bow was of immense importance in rim and without pro-
England from the 12th century onwards. jecting handles. The
The most fully developed form of it, the bowls of China and
long bow, was of yew or ash, and six feet Japan, which are some-
in length. It shot an arrow a yard times very large in size,
long, and was a deadly weapon in the are often placed upon
hands of the English yeomen. The pedestals of wood or mounted upon
bow was an attribute of Apollo, Arte- bronze.
mis, and Cupid in classical art, while Bowtell, Boutell, or Bottle. (Arch.)
53
BOW ART DICTIONARY. RA
to curiosities of all sorts, works of art, roughly understood how to make bridges,
furniture, whether valuable or worthless, and their bridges still remain among the
which the curiosity dealer exposes for most wonderful constructions of ancient
sale in his shop. Here the amateur times. In the Middle Ages chapels and
often unearths what he takes to be fine dwelling houses were frequently built
pearls and pays heavily for them, but upon the roadway of bridges, as was the
finds them out to be nothing but vulgar case on old London Bridge.
paste when he gets home. Apart from Brigandine Armour. A species of
their value, however, they often produce defence consisting of small thin plates of
a picturesque effect. iron sewn on to leather. It was worn in
Bricks. (Arch.) Pieces of clay dried the 13th century, and is said to have got
and baked in a furnace in the shape its name from the fact that it was first
of small rectangular parallelopipeds. worn by irregular troops called " ori-
Bricks have been universally used in gans." Its great advantage was its flexi-
rustic buildings, or those constructed bility.
only with a view to use and economy. Brinded, or Brindled. (Her.) Spotted,
At the same time in artistic buildings said of animals.
excellent results have been produced Brio. (Paint.) A picture is said to be
from judiciously mixing bricks and stone. painted with brio or dash when it seems
In the façades of chateaux of the time to have been done without exertion, but
of Louis XIII. pilasters of stone form a with spirit, and as it were at the first
framework with excellent effect to panels attempt.
of brick. In the annex of the South Bristled. (Her.) Said of a boar when
Kensington Museum an ingenious sys- the hair on the back of the neck is of a
tem of decoration is furnished by the different tincture from the body.
use of ornamentally stamped bricks. Bristol Board. Bristol board is a
—, Common. (Constr.) Bricks made of white board of a fine and satiny texture.
sandy clay mixed with argillous or cal- It is frequently used as a mount to water-
careous marl. colour or pencil drawings. Bristol board
—, Perforated. (Constr.) Bricks of extraordinary whiteness is also used
pierced with cylindrical holes used to for pen-and-ink drawings, which have to
lighten the construction of partitions. be reduced for purposes of reproduction
—, Floating. (Constr.) Bricks manu- by one of the modern processes of en-
factured of porous magnesia or siliceous gravings. Water-colour drawings and
tufa, which have the property of floating miniatures which are to be very highly
on water. They are employed on account finished are often executed on Bristol
of their infusibility in the construction board, its smooth surface being well
of reverberating furnaces. adapted for this method of work.
—, Dutch or clinker. Bricks half vit- Broach. (Arch.) An old English term
rified by constant baking. for a spire.
Brickwork. (Arch.) A construction or Brocade. A silk stuff figured in gold
facing of masonry composed of bricks. or silver with systems of ornament con-
Bridge. (Arch.) A construction of sisting of foliage, scrolls, flowers, animals,
stone, wood, or iron, which spans a figures, &c.
river or connects two points separated Brocatel. A kind of Breccia marble,
by a natural depression of the earth. A differing considerably in colour. The
bridge may consist of several arches, or brocatel of Boulogne is dark, that of
of beams or girders supported by piers, Spain resembles the lees of wine, that of
or it may be suspended on iron chains. Moulins is bluish grey, and that of Siena
T h e Romans were the first who tho- is yellow. T h e tone of these marbles is,
56
BRO ART DICTIONARY. BRU
securely fixed either in a quill or a not wreaths of flowers round the horns,
ferule of tin and fastened to a stick. and their representation on ancient
They are either flat or conical in shape, temples suggested the victims offered in
and are used to lay on and spread the sacrifice.
colours Buff. A clear yellow colour.
Brushwork. (Paint.) Buffet. A piece of furniture on which
When a picture is dishes, plate, and glass are displayed.
painted with spirit and T h e difference between a buffet and
without affectation, or dresser lies in the fact that the latter is
is freely and broadly only fitted with shelves, while the former
treated, its brushwork
is said to be vigorous.
Bucentaur. In clas-
sical mythology a bu-
centaur was a monster,
half ox, half man. This
name was given in later
times to the state galley
in which the Doge of
Venice and the Senate
went to sea during the
ceremony, the " M a r -
riage of t h e A d r i a -
tic."
Buckle. (Her.) A buckle furnished
with a tongue is a charge in
heraldry. It is generally cir-
cular in form, and when it is
lozenge-shaped it should be has drawers and a cupboard enclosed by
specified in the blazoning. doors capable of a good deal of decora-
Buckler. (Arch.) An ornament used in tion.
the decoration of B u g l e - h o r n . (Her.) A figure in
friezes and trophies. blazonry in the shape
It is sometimes cir- of a small hunting horn. ^ ^
cular in form and T h u s we say a " bugle- VV
sometimes lozenge- horn gules." In blazon-
shaped. Bucklers of ing we should specify whether it is
the latter shape are " enguicM" i.e. whether it has a cord
often placed obliquely and bound up attached to it or not.
with bundles of arms. Buhl. A kind of furniture which was
B u c r a n i a . (Arch.) Ornaments in invented and manufactured by Charles
the form of ox-sculls with their horns André Boule or Buhl (1642-1732). It was
wreathed in flowers, which richly inlaid with tortoise-shell, gold,
were employed to adorn copper, & c , and was much in vogue at
the frieze in the ancient the court of Louis XIV.
orders of architecture. Building. (Arch.) A building is a
Bucrania were generally general term applied to any construc-
placed in the metopes or tion whether completed or not.
intervals between the tri- Bulge. A line or surface slightly con-
glyphs (q.v.). Some have and some have vex is said to bulge.
s»
BUL ART DICTIONARY. BUS
Bulla. A small ornament of gold ever, have taken advantage of the bur to
which was worn round strengthen their shadows.
the neck of free-born Burin. [Graver.]
children at Rome. It Burnish. T o burnish is to polish
was laid aside when gold or silver and give it a brilliant sur-
the youth assumed face by means of a notched agate or
the toga virilis. T h e bloodstone. Burnished metal reflects,
" b u l l a e " of poor per- and seen at a certain angle, its tone
sons were made of seems darker than that of the dull metal,
leather. It was re- almost black in fact ; hence the expres-
garded as a charm and sion to burnish.
as especially efficacious in keeping off Burnisher. (Engrav.) A steel instru-
the evil eye. ment not having a very sharp edge
Bull's-eye. (Arch.) A round or oval in the form of an elongated oval, used
window, placed either in the front of a by engravers to soften a harsh line or
such as Diana the Huntress, Bacchus, surface of which was inclined to the
wall at a sharp angle so that the rain
J
and Mercury. Bus- might run off; they were afterwards
kins were also worn
in the Middle Ages,
and kings at their
c o r o n a t i o n wore
them of cloth of gold
and other costly ma-
Bust. T h e upper
part of the human
body ; the represen-
tation, painted, drawn, engraved, or
modelled, of the head, shoulders, breast,
and arms cut off above the elbow. A por-
trait bust represents the head and upper
part of the body without the hands. A
sculptured bust is said to be antique in
style when the neck and upper part of the polygonal and decorated with pinnacles,
breast are bare and cut off vertically. In and in the 14th century terminated in
modern busts a part of the arms is turrets.
generally shown and the model is draped, Buttress, Flying. (Arch.) A pier which
sometimes in a mantle which covers the stands at some distance from a wall sur-
lower part of the breast. In a picture mounted by a rampant arch, which con-
we say that the bust of such and such a nects it with the wall. It is intended to
figure is badly proportioned, or in a work counteract the thrust from the vaulting.
of sculpture that we do not feel the It is found in Roman monuments, and was
bust under the drapery, referring in each
case to some fault in the proportion or
execution of this part of the body.
Bustle. (Paint ) A term signifying a
restlessness and want of harmoniousness
in the colouring of a picture. Sir Joshua
Reynolds contrasts the " quietness and
chastity of the Bolognese pencil with the
bustle and tumult that fills every part of
a Venetian picture."
Busy. (Paint.) Full of bustle (q v.).
Buttery (Arch.) A room near the
hall and kitchen in monasteries and
mediaeval mansions from which beer
and wine were served out. introduced early into England. In the
Buttress. (Arch ) A massive piece north choir aisle of Canterbury are some
of masonry which served as a support flying buttresses, which belong to the
and added to the resistance of the verti- transition period. In the 12th century
cal wall. Buttresses are universally they were very simple, and were not
used in Gothic architecture. They were much decorated until the 15th century.
indispensable in holding up the lofty Byzantine Art. T h e art which owes
walls of churches. Originally they con- its origin to Byzantium. It engrafted
sisted merely of a squared mass, the Christian sentiment on reminiscences of
60
BYZ ART DICTIONARY. CAD
Pieces of pottery, rather more tapering tection for the foot and so differed from
in form, have also been the sandal. Different kinds of calcei
found bearing this name. designated difference of
T h e cadus was generally rank. T h e senators ο
used to hold wine, but also Rome, for instance, wore
employed to contain oil, one of a peculiar pattern,
dried fruit, &c. while in the time of the
Caelatura. T h e Latin term for raised Empire calcei were fre
work in metal or chasing (q.v.). quently made of costly material and de
Cage of a Building. (Arch.) T h e col corated with gems.
lection of outside walls which define the Caliga. (Cost.) T h e shoe worn by the
shape of a building.
Cairn. A heap of stones, often shaped
like a pyramid and raised over a grave.
T h e custom of building up cairns is of
very ancient date, but it now only prevails
in some districts of Ireland and Scotland.
Caissons. (Arch.) A French term
applied to the sunk panels in a ceiling.
[Coffers.]
Calantica. (Cost ) A head-dress in rank and file of Roman soldiers. It was
the form of a net or bag and fastened heavy and shod with nails.
tightly round the head by a band. In Caligraphy. T h e art of writing. T h e
greatest masterpieces or handwriting are
to be found in the manuscripts of the
Middle Ages and the Renaissance, and in
some rare collections of the 17th and
18th centuries. T h e people of the far
East have also produced some fine
specimens of caligraphy.
Caliver. An arquebus with a wide
bore. It was in use in England from the
time of Elizabeth until about the middle
Egypt it was worn by both men and of the 17th century.
women, but when introduced from the Calix. A cup-shaped drinking vase in
East into Greece and Rome it was only use among the Greeks,
adopted by women. set on a stem and
Calathus. A basket in which women ** generally furnished
in ancient times kept the with two small handles.
wool, which they were going Callipers. A kind of compass, the
to spin. It was generally branches of which are twisted
made of wicker-work, and of unequal length. They
rarely of metal, and was are used by sculptors to
narrow at the base, gradu check measurements. Their
ally expanding towards points are curved in different
the top. Representations directions, so that it is possible to mea
of calathi are frequently found on vases sure both inside and outside surfaces.
and other monuments of Greek art. Callipyge. Literally aux belle fesses.
Calceus. (Cost.) T h e Roman term for T h e name of a statue of Venus in the
a shoe or boot. It was a complete pro Farnese Palace.
62
CAL ART DICTIONARY. CAM
Instruments of iron having four sharp I mail which was attached to the bascinet
6,
CAM ART DICTIONARY. CAM
and covered a warrior's head and neck. is an opening across which a mirror is
Etymologically the term means camel s placed to collect the rays of light and
hair, and it was first applied to a garment throw them on a lens, so that an actual
of soft wavy texture worn by priests, to image is thrown upon the white paper
the shape of which the chain-mail bore in front of the artist. T h e outline can
some resemblance. then be drawn with a pencil. T h e other
Cambered. Curved, arched. A well-
cambered figure is a figure describing a
graceful curve.
Cameo. Gems cut in relief are called
carnei or cameos. Great care was
shown by the ancients in choosing
stones, consisting of several variegated
strata. Cameos vary considerably in
size, and as a rule the figures or ob-
jects represented stand out in white
on a sombre red ground ; sometimes the
white and red are reversed. T h e term
cameo is applied generally to all gems
cut in relief, while those hollowed out
or depressed are called intaglios. kind of camera obscura is portable and
Camera Lucida. A prism by means of so more convenient. T h e optical appa-
which the image of any object may be ratus is placed upon a tripod, round
thrown upon a sheet of paper. It was which curtains are drawn, so that the
invented by Woollaston in 1804, and has artist is placed in darkness and is able
been brought to perfection since. It is to catch the image thrown upon the
of great service to artists and others, as white paper in front of him.
Campanes. (Her.) Bells suspended to
any charges. (Sculpt.) This
word is also used by the
French to denote little bells
carved in wood as a motive
of ornamentation for bishops' thrones,
altar canopies, &c.
Campanile. A tower in which bells
are placed, built near
a church but not
actually attached to
by its aid natural objects, & c , can be it. Campaniles are
traced with great accuracy. T h e only frequently met with
difficulty which it involves lies in the in Italy and else-
fact that the draughtsman must at the where. In England
same time watch the image and follow they are rare ; there
the point of his pencil. is one at Evesham,
C a m e r a Obscura. An apparatus by and formerly there
means of which a reduced tracing may was one at Salisbury.
be made of natural objects. There are T h e term is also
two kinds of camerae obscurae. T h e applied to an open construction of timber
one consists of a hut of wood her- work surmounting a roof, in which as a
metically sealed. In the roof of this hut rule either a bell or a clock is placed.
64
CAM ART DICTIONARY. CAN
Campanulated. (Arch.) A term ap are no less than twelve feet in height.
plied to capitals or orna They are infinite in shape and often
ments, the profile of which designed by the most renowned archi
suggests that of an inver tects. Sometimes they support a lamp
ted bell. hexagonal or circular in shape surmount
Candelabrum. A candle ing an open-work crown. Their shaft is
stick or stand to support a lamp. Can frequently decorated with carefully exe
delabra generally have several branches. cuted sculptures. Finally, there are
When placed on altars they are very candelabra still richer in design, con
sisting of bronze or marble statues, which
are found in the vestibules of hotels or
palaces or at the foot of staircases. T h e
candelabra in use among the Romans
generally consisted of a column of a
considerable height, standing upon a
tripod, frequently fluted and sometimes
decorated with climbing animals, upon
which was placed the tray which held
the lamp. Representations of candelabra
are often found as ornaments on friezes.
T h e term is also applied to the column
representing a candelabrum, placed on a
pier or on a square tower surmounting
often richly ornamented, but many a cupola.
dating from the Gothic period are per
Canephorus. T h e basket-bearer; a
fectly simple. T h e large candelabra name given to the Athe
nian maidens who walked
in the processions of De-
meter and Athena, carry
ing upon their heads fiat
baskets containing the
sacred cake, &c. They
are represented in the
Parthenon frieze. In
architecture the term de
notes a decorative statue holding a vase
or basket, sometimes employed as a
caryatid (q.v.). Those of the Villa Albani
at Rome are celebrated.
1 Cannets. (Her.) Ducks with-
i j» % out feet or beaks, generally
l^w A W depicted in profile.
I Canon. This word signifies
ΥΛ« an artistic rule or law based
upon observation. It was applied in
ancient times to statues or monuments,
which were intended to serve as types
which are placed on the ground and only or embodiments of the principles of
hold one candle are often of huge dimen art, and also to fix the length of the
sions. Some of modern workmanship finger, the height of the face, from
65
CAN ART DICTIONARY. CAN
which might be determined the exact Canopies formed of drapery were often
proportions of the whole figure. T h e employed to de-
most celebrated canon in ancient times corate the top of
was that of Polycleitus, which he exem- the seats of dis-
plified in his statue of the Doryphorus. tinguished peo-
This was in turn superseded by the canon ple. In the
of Lysippus. same way the
Canopa. A n a m e given to Egyptian word canopy is
vases which contained the applied to the
viscera of the dead. As covering formed
inscriptions they bear of plumes and embroidered stuffs, which
various formulae of bene- was often carried over the heads of kings
diction. On their lid a and important personages In modern
h u m a n skull is sometimes Europe such canopies are only used in
placed, sometimes the sym- Roman Catholic processions.
bolic head of a cynocephalus, a hawk, or Canted. (Arch ) A term used by car-
a jackal. penters to denote that the angles of a
Canopy. A system of decoration be- square have been cut off. T h u s an oriel
longing to the Gothic period. It consists is said to be a canted window.
of a vaulting placed Cantharas. A Greek two-handled vase
above statues fixed | or cup, sacred to Bacchus, varying in
against a wall, or 1
above niches made
to receive a statue.
Canopies of the
12th and 13th cen-
turies suggest on
a small scale the shape and size. On Greek vases Bacchus
features of build- » is frequently represented as holding it in
ings of the period. J his h and.
In the 13th cen- C a n t i l e v e r . (Arch.) A projecting
tury they are surmounted by disengaged bracket employed to support balconies,
arcades, flanked with pinnacles, bell- cornices, &c.
turrets, and flying buttresses. In the Canting Arms. (Her.) Armorial de-
14th and 15th centuries canopies become vices which fall under the definition
still more ornate. of a rebus (q.v.). They abound in early
— In certain in- heraldry.
stances eques- Canton. (Her.) May be regarded as a
trian statues are diminutive of the quarter
crowned with (q.v.), and is one of the
canopies formed honourable ordinaries. It
of two pointed is placed in a corner of
arcades spread- the shield, usually the dex-
ing out over a ter chief, and occupies a
considerable area. Finally in the 16th third of the chief, or a ninth
century canopies, still ornate, frequently of the shield If placed on ti e other side
have the form of lanterns surrounded by of the shield it is called a canton sinister.
volutes and scrolls, and arranged in Cantoned. A cross or saltire is said to
stages receding as they mount, the whole be cantoned when it is placed between
often terminating in a graceful statuette. four charges, or groups of charges. T h e
66
CAN ART DICTIONARY. CAP
term is also employed to denote a single early times of Byzantine Art were very
charge in the first quarter of the shield. simple in form, and were sometimes
Canvas. (Paint ) A material upon decorated with palm leaves, flowers and
which pictures in oil-colour are painted. wreaths. T h e capitals of the decadence,
T h e canvas is placed on a stretcher (q.v.), on the other hand, were decorated with
from which it may be removed if neces purely geometrical systems of ornament,
sary. In the language of critics and consisting of combinations of straight
historians of art a canvas means a pic lines and curves. Finally some Byzantine
ture. Thus we speak of a canvas of capitals present examples of volutes orna
Raphael. Special names are given to mented with rosettes. But as a rule the
canvases of special dimensions, such as sculptured ornament is in very low relief
kit-cat (q ν ), and bishops' length (q.v.). and sometimes the abacus is bevelled.
Cap-à-pie. (Her.) Said of a knight Capital, Composite. A Corinthian
armed head to foot. capital with
Caparison. Armour or richly embroi- highly developed
dered stuff with which horses were volutes, which
covered in the Middle Ages at the Re- closely resemble
naissance. t h o s e of t h e
Capital. An ornamental letter of a Ionic capital,
large size, beginning w i t h t h i s diff
the first word of a erence, however,
chapter. In editions that the four
de luxe capitals are sides of the capi
generally decorated tal are absolutely symmetrical. There
with scrolls and are very varied types of this capital,
figures. In ancient which was held in high esteem by the
ΠΒϋιΤυΤίΠίΙί manuscripts they architects of the Italian Renaissance.
y F f i f c * " ^ ^ were often red or —, Corinthian. Corinthian capitals
Ά illuminated in the are the richest
" "' most brilliant colours. of t h e p u r e
They sometimes en orders, their
croached upon the characteristic
margin and even the text of a page. being rows
Capital. (Arch.) An ornament consist of a c a n t h u s
ing of various projecting mouldings, leaves placed
placed at the summit of a column, pillar, one upon the
or pilaster. other with vo-
—, Angular. A capital placed at the lutes above
them at each
corner supporting the projecting abacus.
T h e latter is not
square but hollow-
ed # out, so as to de
scribe a concave
curve. T h e r e is in
existence a great
variety of Corinth
angle of a pilaster supporting an entab ian capitals, the
lature. handiwork not
—, Byzantine. T h e capitals in the only of Greek and
6-7
CAP ART DICTIONARY. CAP
Roman artists, but also of the architects the Indian capital being a flattened
of the Renaissance and the present day, sphere surmounting consoles, which
as the Corinthian order is the one which diminish the bearing of the lintel.
has been most frequently employed in Capital, Ionic. This capital is character
the decoration of modern buildings. ised by spiral
Generally speaking, Greek Corinthian volutes placed
capitals are more decorative than Roman, underneath
and at the same time exhibit a remark the abacus.
able amplitude of line. T h e profile of
Capital, Doric. T h e Greek Doric the Greek
ρ*. t .. •—r, capital, which is the Ionic capital
I.·· · ·' «..••....Ν tn|!» *•
is far more delicate than that of the
i- · · \<J simplest of the clas Roman Ionic. T h e latter is overcharged
sical orders, consists with details of or
of an abacus, an echi nament. T h e Re
nus, and annulets, just naissance as well
above the neck of the shaft. In Roman as the 17th and
buildings the echinus is replaced by an 18th centuries pro
ovolo moulding, an ogee is added to the duced some fine
abacus, a cymatium and fillet is some examples of the Ionic capital, especially
times substituted for the simple form from the point of view of profusion of
of the abacus while sculptured orna
the delicate annulets ments. Among
which separate the the theories of
e c h i n u s from the the origin of vo
neck of the shaft are lutes, attention
changed to astragals. These modifica should be called
tions render the Roman Doric capital far to that which compares them to the
less graceful than the Greek, which should folds of a cushion interposed between
always be regarded as the true type. the shaft of the column and the abacus,
T h e total height of the Doric capital a theory which is precisely justified
should be equal to the length of the by the lateral appearance of the volutes.
radius of the base of the column. —, Latin. T h e capitals of Christian
—> Egyptian. T h e principal forms of basilicae from the 8th to the 10th cen
capitals in the Egyptian tury are generally only heavy, clumsy
style are a simple cube imitations of ancient capitals, and are
without mouldings, or a often decorated with palm-leaves or
splayed vase or bell. They other ornaments care
are decorated with systems n i less in execution and
of ornament, sculptured barbarous in design.
and painted in bright colours, represent —, Moorish. Capi
ing lotus flowers or hieratic figures or car tals of the Moorish
touches with hieroglyphic inscriptions. or Arabian style are
—, Indian. T h e system of ornament generally cubic in
on Indian capitals is of extraordinary form and are con
richness and variety. They can, how nected by rounded
ever, be reduced to three types, in which curves with the cylin
groups of figures, animals, and flowers drical shaft of the
and foliage predominate respectively. column. They are
The general outline is sometimes quite ornamented with astragals and sur-
simple; the most frequent principle of
68
CAP ART DICTIONARY. CAP
mounted by an abacus, while their sur- carried on to the pillars without any
face is decorated with systems of orna- break in the con-
ment consisting of floral and geometrical tinuity. T h e most
designs. marked charac-
Capital, Neo-Greek. A capital of a teristic of the
column or pilaster conceived in a style capitals of the
of architecture of modern origin, which Pointed style is
the execution of
the foliage, which
is never conven-
tional, but as close
a reproduction as possible of the object
chosen for representation, and in nearly
every case drawn from the flora of the
locality.
consists chiefly in cutting off the mould- Capital, Renaissance. All the capitals
ings sharp and decorating the flat surface used at the period of the Renaissance
thus obtained with floral ornaments are borrowed from the ancient orders,
thinly incised. but with modifications of proportion and
—, Persian. T h e point of support in detail which give them a special charac-
capitals of the Per- ter. They are as a rule more richly
=--.T .- —_---->__ g ^ a n style gene- decorated with sculptured ornaments
rally takes the than their prototypes.
form of the heads -, Romanesque. The Romanesque
of h o r s e s , u n i -
corns, or bulls ter-
minated in volutes
and surmounting
c y l i n d r i c a l and
fluted shafts.
—, Pointed. T h e capitals which sur-
mount the pillars
in buildings of the
Pointed style are
rather p r o j e c t i n g
copings reaching to capitals of the n t h century are splayed
the spring of the arch in form and sometimes surmounted by
and corresponding to a double abacus and embellished with
the projection of the ornaments. In
columns, than capi- the 12th century
tals properly so- c a p i t a l s were
called. In the 12th
century they consisted of rows of buds,
which developed by degrees into crockets
and reached their full expansion in the
14 th century. In the 14th century capi-
tals were of so little importance as to be
hardly distinguishable ; in the middle of
the 15th century the capital disappeared decorated with foliage and became more
altogether, the ribs of the arch being graceful in profile. Some capitals of
69
CAP ART DICTIONARY. CAR
this period are simply corbels, others in all probability we owe it to the Span-
are decorated with grotesque and sym- iards. It had a wheel lock and a wide
bolic figures, generally surmounted with bore.
twisted foliage or volutes. Carbon Process. T h e fixing of photo-
Capital, Tuscan. This capital is no- graphic proofs by the carbon process,
thing more than a Doric capital stripped although it does not render them abso-
of a great deal of its grace. It consists lutely unalterable, makes them far more
of an ovolo moulding, an abacus and an durable than those obtained with silvered
astragal separating the capital from the paper, as the powdered carbon is fixed
shaft of the column. In spite of its by means of an adhesive substance. Its
inelegance it has been frequently used unsatisfactory feature is that it gives to
by some architects of the Renaissance. the proof a heavy look and destroys the
Cap of Maintenance. (Her.) This is transparency of the shadow.
sometimes worn above the helmet in Carbuncle. A precious stone, a variety
place of a wreath. It is made of crimson of red garnet of extraordinary brilliance.
velvet ornamented with ermine, Carcanet, (Cost.) A necklace of pearls
Capitol. (Arch.) T h e citadel and tem- or other precious stones.
ple of Jupiter at Rome. Later the term Carcass. (Arch). T h e skeleton, either
was applied to the principal temple in of wood or iron, of buildings in general.
the cities of the Roman Empire. Carchesium. A Greek drinking vessel
Cappah Brown. (Paint.) A pigment
obtained from a manganese peat, called
cappah. It is a useful colour and almost
permanent, but is adversely affected by
a strong light. This danger may be
obviated by mixing the pigment with a
permanent colour, such as umber or
Chinese black.
Caprices. A set of drawings or engrav-
ings, of which the grotesque subject and
original composition belong rather to the
realm of fancy and imagination than that
of observation. T h e caprices of Goya
are collections of engravings represent-
ing phantasmagoric scenes and halluci-
nations.
Carat. A special weight which is the
traditional standard in goldsmiths' work
and jewellery, and is also employed as
the measure of pearls and diamonds.
T h e weight of a carat is twenty-four
grains. T h e term carat is also applied
to small diamonds.
Caravanserai. (Arch.) A building in-
tended in the East for the use of tra-
vellers. It is in the form of a quad-
rangle, enclosing an immense courtyard.
Carbine. A fire-arm which was intro-
duced into this country in the 16th cen-
tury. Whence it came is uncertain, but furnished with two handles which ex-
?o
CAR ART DICTIONARY. CAR
tend from the rim to the bottom In added to a solution of Indian ink gives it
form it somewhat resembles the modern a warm tone. Oil and varnish protect it,
loving-cup. The term was also applied and as a rule it is permanent, being only
to a portion of a Greek ship, which cor- adversely affected by a strong light.
responded to our top. From the car- Sometimes it is obtained from the cochi-
chesium the sails were managed and neal insect, sometimes from madder.
in it sailors stood to keep a look-out. It Carnation. (Paint.) Flesh tints (q.v.).
got its name from its supposed likeness Carol. (Arch.) A small room or closet,
to the drinking-cup. in which one might sit and read. In
Cardboard. A light card consisting of monasteries carols were set apart for the
sheets of paper pasted together through- monks to study or illuminate missals in.
out their surface. T h e recesses formed by a bay window
Cards. Playing cards are of great im- are also termed carols.
portance in the history of art. They are Carpentum. A carriage with two
first heard of in Europe in the 14th cen- wheels and an awning over it. It held
tury, and no doubt the first packs were two or three persons, and could be
simply painted by hand. At least so
we may infer from the very high price
paid for the pack made by Jacquemin
Gringonneur for Charles VI. of France.
T h e oldest ones still in existence are
stencilled. Cards, however, are chiefly
interesting to us because they influenced
or even led to wood-engraving. At any
rate the earliest wood-cuts that have
come down to us are playing cards.
T h e packs in use at present are copies
of those made in the 16th century, and
are generally produced by means of
lithography.
Caricature. An extravagant represen- shut in with the awning when desired.
tation, in which reality is so far exag- As a rule it was drawn by two mules,
gerated as to become ridiculous and and it was chiefly used by Roman
grotesque. It has been practised in all ladies.
times as a method of satire. Egyptian Carpet. A woven fabric used for cover-
and Greek caricatures have come down ing the floors of chambers. In the East
to us, while at Pompeii many burlesque carpets were employed by Oriental
travesties of ancient myths were dis- nations for sitting or reclining upon, or
covered. In modern times caricature for kneeling on while in prayer. They
has been freely used as a political existed in very early times in the East,
weapon, and Englishmen have reason to in Egypt and Persia for instance, and
be proud of their long line of caricatur- were imported into Spain by the Moors.
ists from Rowlandson to Furniss. From Spain they reached Venice, and
Caricaturist. An artist who draws or then spread all over Europe. The
models caricatures. manufacture of carpets was introduced
Carmine. (Paint ) A bright rose red into France from Persia in the reign of
colour. In water-colour painting car- Henri Quatre, while the celebrated fac-
mine, when ultramarine, Prussian blue, tory at Beauvais, still in existence, was
or indigo is added to it, produces rich established by Colbert, the minister of
violet tints. A few drops of carmine Louis XIV., in 1664. A carpet factory
71
CAR ART DICTIONARY. CAR
was established at Mortlake by James I., assumed the form of bannerolles with
but it was unsuccessful. However the their ends rolled up.
manufacture flourished later at Wilton, T h e richest and most
Kidderminster, and elsewhere in England. beautiful cartouches
T h e r e are two methods of carpet-making date from the Renais-
In the first, the materials of the pattern sance. Those of the
are knitted into the warp. This is fol- 17th and 18th centuries are generally
lowed in Persian, Turkey, and Indian too exuberantly decorated, but they
carpets. In the second the pattern is always bear
woven up in the loom. T h e latter is fol- evidence of a
lowed in Kidderminster, Brussels, and fertile imagi-
Wilton carpets. T h e carpet in a room nation. The
which contains much furniture should name car-
be dark in tone, as it then forms the touche is also
most efficient background for the furni- given to the
ture. ovals bearing
Carrara Marble. A white marble of ^TZMWxwit'vr-v '
$ 2 $ Ë ^ W ^ ^ hieroglyphic
extraordinary beauty and brilliance ob- *. fcc^flfc'.s instructions,
tained from the quarries of Carrara in which were
Italy, and used by sculptors. placed in the tombs of Egyptian kings.
Cartisane. A small piece of parch- Cartridge Paper. A strong paper with
ment, which was worked into ancient a rough surface much used for drawing
embroideries of silk, gold, or silver upon. It received its name from the
thread in order to obtain relief. fact that it was originally employed in
Cartoons. (Paint.) A name given to the the manufacture of gun cartridges.
studies made by artists before they under- Carving. T h e art of cutting wood and
take the execution of a picture or fresco. ivory into beautiful forms and shapes is
As frescoes (q.v.) have to be executed called carving. Among the ancients
on a fresh ground, which renders any rude figures of the gods were carved in
retouching impossible, fresco painters wood. In the earliest works of sculp-
are obliged to make full-sized designs tured stone, the influence which wood-
which have only to be traced upon the carving had on the artist may easily be
ground. T h e paper used for this pur- discerned. T h e art of carving ivory was
pose was called in Italian cartone. carried to perfection by the Greeks, and
Thence it became the custom to denote was particularly employed in the produc-
by the term cartoon all preparatory tion of chryselephantine statues (q.v.).
sketches of artists. T h u s the designs Throughout the Gothic period wood-
executed by Raphael to be carried out carving was cultivated with great suc-
in tapestry, and now in the South cess, and especially applied to the deco-
Kensington Museum, are known as car- ration of churches with stalls, screens,
toons. rood-lofts, and canopies. At the Renais-
Cartouche. An ornament with an sance the details of classical architecture
empty space in its centre to receive were introduced into furniture and carved
an inscription, cipher, or emblem. Car- in wood. Numberless cabinets, chairs,
touches sometimes consist of mouldings, and tables are in existence, both of the
but more generally Gothic and the Renaissance period,
of scrolls trimmed which testify to the skill of wood-carvers.
with garlands, T h e most celebrated wood-carver of more
flowers, and fo- modern times is perhaps Grinling Gib-
liage. In the Gothic period cartouches bons, to whom we owe the stalls of St.
72
CAR ART DICTIONARY. CAS
Paul's Cathedral and many other master- general term for all forms of head-
pieces. In the present day wood-carving guards.
like all other handicrafts has fallen into Casquet. A small coffer, either com-
decay. posed of or decorated with precious
Caryatides. (Arch.) materials, such as sweet-scented woods,
Figures of women chased metals, gold, silver, enamels,
which serve as a sup-
port and take the
place in classical
buildings of columns
or pilasters T h e car-
yatides of the Pandro-
seion at Athens re-
present female figures
holding baskets of gems, &c. In the Middle Ages and at
fruit on their heads. the time of the Renaissance casquets
[Atlantes.] were made of iron with open panels
Casement. (Arch.) covered with leather or variously
A frame, generally of coloured stuffs.
wood, which encloses Casquetel. A small casque or helmet
the glazing of a win- with no visor, but a projection in front.
dow and opens on a
hinge.
Casino. (Arch.) A collection of build-
ings in watering-places and sea-side
resorts on the Continent, which is used
as a kind of club, and includes ball, con-
cert, and gambling rooms.
Casque. A term applied to the head-
piece which came into vogue in England
in the reign of Henry VIII. It was not It afforded but little protection, and was
intended to be worn in warfare, and was worn chiefly for display.
Cassock. This name was given to
several very dissimilar articles of dress.
Originally it appears to have been a
loose kind of coat, and was in the
17th century worn by hackney-coach-
men and others. In the 18th century it
was an overcoat worn by the gentry.
At the same time, from the 17th cen-
tury until the time of George II., the
cassock was the distinctive dress of the
clergy, and during the performance of
the service was worn by Protestant
priests at least under the academical
gown. In the present age it only sur-
not provided with a visor. It was fre- vives as an ecclesiastical vestment.
quently elaborately carved and often Cast. (Sculp.) T o cast is to reproduce
copied in shape from the antique. In a work of sculpture from a mould.
the language of poetry casque is a Plaster is the material generally used in
6 73
CAS fier DICTIONARY. CAT
74
CAT ART DICTIONARY. CEC
verted into a cathedral at any time by capital and curl round the volutes which
placing a bishop's throne within its support the abacus.
walls. Considering the important office C a u s i a . (Cost.)
discharged by a cathedral it is natural A broad - brimmed
that buildings of beauty and dignity hat worn by Roman
should, where possible, be chosen as fishermen and adopt-
cathedral churches. But it must not be ed by them from the
supposed that a cathedral need differ, Macedonians, who in-
architecturally speaking, in any respect vented it. Represen-
from an ordinary parish church. tations of it are found
Catherine, St. According to the legend on vases and other
St. Catherine was an Egyptian princess, works of art.
who suffered martyrdom at the hands of Cavaedium. (Arch.) T h e hollow or
the Emperor Maximin or Maxentius open part of a Roman house. T h e
because she would not renounce t h e Romans in early times built their houses
Christian faith. She is said to have in t h e form of a small quadrangle, thus
been very beautiful, as well as learned leaving an empty space in the middle,
in all the science and philosophy of the and it is this empty space which was
heathen. T h e Emperor attempted on called t h e cavaedium.
one occasion to break her to pieces on Cavetto. (Arch.)
wheels armed with sharp spikes, but t h e A concave moulding,
wheels were destroyed with fire from which generally has
heaven, and the spikes flew about and a quarter of a circle
killed three thousand people. Mrs. as its profile. It is
Jameson holds that the legend of St. principally a cornice
Catherine is based upon t h e story of moulding.
Hypatia, who suffered martyrdom at Cavo-relievo. (Sculp.) A method of
Alexandria, not at the hands of heathen carving in relief,
tyrants, but of Christian fanatics. St. in which the
Catherine is represented over and over highest part is on
again in art. H e r attributes, besides a level with the
the wheel, which particularly belongs surface of t h e
to her, are a palm, a sword, a crown, and stone, and the
a book. H e r marriage with the Infant lowest part is de-
Christ, symbolising t h e union of her soul pressed consider-
with Christ, was a favourite subject with ably below it·
painters, especially during the 16th cen- This method of
tury. Representations of it are in ex- sculpture was
istence by Perugino, Correggio, Titian, chiefly practised
Vandyck, and others, by the Egyptians, and our cut represents
Cat's Eye. A stone of a yellowish or an Egyptian work.
greenish hue, fur- Cecilia, St., was a Roman who lived
rowed with rays in the reign of Alexander Severus. She
of a brilliant was educated in the Christian faith by
green. her parents, and being gifted with a
C a u l i c o l i . genius for music she composed and
(Arch.) Stalks sang hymns, and is said to have in-
which spring from vented the organ. She suffered martyr-
between the folds dom in Rome soon after her husband
of the acanthus leaves in the Corinthian and his brother had been put to death
75
CEI ART DICTIONARY. CEN
for professing the Christian faith. T h e nearly every part of the world. It was
executioner sent to put her to death long held that the instruments called
trembled so that he failed to carry out celts were so termed because they were
his purpose, and having wounded her made by the Celtic nations. But this
left her to die. In early representations derivation has been given up, and it is
of St. Cecilia the saint appears simply now generally recognised that the word
holding a palm-branch; after the 15th is only an anglicised form of the Latin
century she is generally painted with her celtis, a chisel. T h e period at which
musical instruments, and from that time they were used is so remote that for
she is regarded almost exclusively as centuries a superstition has been in
the patroness of music. existence that celts were not fashioned
Ceiling. (Arch.) T h e ceiling is the by h u m a n hands, but were in reality
covering of a roof or floor, which hides thunderbolts, and fell from heaven. In
its timbers from the room below. It every part of the world they have been
may be of timber or plaster. It is held in reverence as of supernatural
generally of the latter in the present origin, and called thunderbolts or light
day. T h e timber ceilings of the Middle ning stones. Medical virtues have been
Ages, especially those in churches, were ascribed to them. In some countries
often richly gilded and brilliant with they are said to keep off the cattle-
colour. T h e use of piaster in ceilings plague, in others to purify wells.
came in with the revival of the classical They are generally made of flint, but
style about the time of James I. sometimes of quartz, porphyry, jasper,
Celadon. (Pot.) This term was origin and other stones. In length they vary
ally applied only to the sea-green colour from two to sixteen inches. They be
upon old Oriental porcelain. Pieces of long to what is called the Neolithic age,
this colour ,are extremely rare and of which carries us back to a time when the
great antiquity. T h e term is now use of bronze and iron was unknown.
applied to all porcelain in which the They, as well as the moulds in which
colour is mixed with the glaze and they were made, have been found in
burnt in at the first firing. large numbers in every part of the globe.
Celebe. (Gk. κελέβη.) T h e n a m e of cer Cement. (Arch.) A mixture of lime
tain Greek vases, elegant in and some hard substance, thoroughly
form, with two handles and crushed, or of sand, puzzolana, and lime.
a foot. Some are quite plain It is used to bind solid bodies to
while others have their sur gether.
face richly decorated. —, Roman. (Arch.) A cement obtained
Cella. (Arch.) T h e sanctuary in from the crushing of special stones.
ancient temples. Our On being soaked in water it forms a
illustration represents soft paste, which rapidly hardens in the
the plan of an ancient air.
temple, and the part Cenaculo. [Last Supper.]
enclosed within black Cendal. A silk stuff, of which banners
lines is the cella. A and rich vestments were made in the Mid
magazine or store room dle Ages.
on the ground-floor of a Roman house. Cenotaph. A monument raised to the
A name given to the separate chambers memory of a dead person, whose mortal
variously heated in ancient baths. remains are elsewhere.
Celt. T h e term celt is applied to Censer. A metal vessel for burning
hatchets, adzes, and chisels of stone, incense. Over the cup where the incense
which were once used as implements in burns is an ornamental open-work cover,
76
CEN ART DICTIONARY. CER
and the whole is supported by chains spot in a painting where the effect of
attached to the light is concentrated. T h u s we speak of a
cup. In the luminous centre, or of a composition the
Gothic period centre of which is not distinctly marked.
censers were Centre. A temporary structure of wood
AWIML· decorated with upon which arches
mullioned open- are built. For small
ings. In the arches centres con-
17th and 18th sist simply of pieces
centuries the of wood cut to the
covers were curve of the arch and supported under
often dome- it by props. For longer arches, such
shaped, and the as tunnels, the centres are composed
cups were ornamented with statuettes of several upright curved frames or
standing at the points where the chains ribs, joined together by narrow battens
were attached. nailed across them horizontally and
Centaur. (Myth.) A fabulous being, called laggings ; the whole being sup-
half man, half horse, often introduced ported by struts resting either on the
by Egyptians, Etruscans, Greeks, and ground, or, if the arch is high, on corbels
Romans into their bas-reliefs, and form- introduced into the side walls. Between
ing the subject of numerous works of art. the top of each strut and the rib which
The artists of the Renaissance and it supports is placed a pair of small
modern times have also given us repre- wedges of wood, which can be easily
withdrawn. By this device it is possible
to ease the centre before the masonry is
quite set. T h e two wedges are driven
slightly outwards, thus allowing the rib
to sink a little. This causes the whole
of the arch to settle slightly and uni-
formly and to take its bearing, the mor-
tar being compressed in the joints.
When the mortar has completely set,
the centres are removed together.
Ceramic. T h e ceramic art is the art
sentations of this mythological figure, the of manufacturing objects of all sorts in
human torso placed upon the body of a every kind of clay, and of decorating
horse affording an opportunity for gran- them by means of painting or modelling
deur of line. Centaurs are sometimes re- or both. T h e difference in the quality
presented on Greek vases with their fore of clay and the variety of decorative
feet human. T h e female centaur was processes have given rise to a variety of
a later invention and is more rarely products. Under the general name of
represented in works of art. ceramics we include (1) bricks, tiles,
Centre. In geometry the centre is terra-cotta, and common pottery ; (2)
a point within the cir- faïences ; (3) stone-ware ; (4) porcelain.
cumference of a circle, T h e ceramic art occupies in conse-
all lines drawn from quence a very important place among
which to the circumfer- the decorative arts. It is allied to
ence are equal. The architecture on the one hand, and to
term is also applied to painting and sculpture on the other.
the central point in a picture and to the [Pottery.]
77
CER ART DICTIONARY. CHA
Chantry Chapel. A small chapel built crypt (q.v.) in which the dead were
over the grave of one who had left a buried.
chantry or endowment for the chanting Chapelle-de-fer. An iron hat used
of masses for his soul. T h e practice of by knights in the
bequeathing money for the building of Middle Ages as a
a chantry chapel was frequent before the protection for the
Reformation, and many of these chan- head. Its pecu-
tries are to be seen in our abbey churches. liarity was its
T h e r e are several at St. Albans. brim, which,
Chape. A tip or case of metal fixed though narrow in
on the scabbard of a sword or dagger the 13th century,
to strengthen it. In the 13th and 14th grewg radually
centuries chapes were quite plain, but broader. The
those which belong to the 16th century crown was at first
are often elaborately decorated. flat, then it fol-
Chapel. (Arch.) A religious building lowed the shape of the head, and finally
of small size, either isolated or annexed assumed a conical form. When the
to, and so forming part of, a church. bascinet (q.v.) was introduced, knights
When, however, they belong to palaces, abandoned the chapelle-de-fer.
mansions, colleges, & c , buildings of Chaperon. (Her.) A French heraldic
whatever size are termed chapels. These term signifying a hood, such
chapels are of course often of large as knights used to wear
dimensions and exquisite architecture. under their helmets. In
Such is the Sistine Chapel belonging to ta England the term is con-
the Vatican, which contains Michael fined to little shields bear-
Angelo's " Last Judgment," and such are ing death's-head and other devices that
the chapels which form part of the used to be placed on the foreheads of
colleges of Oxford and Cambridge. horses at ceremonious funerals.
Chapels annexed to a church are rare in Chapiter. (Arch.) An old term for
Byzantine architecture. They appear in the capital of a column.
Romanesque churches under the name aplet. (Arch.) A moulding decorated
of apsidal chapels, and as time goes on
increase in number and extent. In the
12th century chapels which appear square
outside have often a polygonal interior.
In the 13th century chapels of large with pearls or small rosettes threaded
dimensions, and dedicated to the Virgin, together.
were frequently built on to the end of Chapter-house. T h e meeting place of
a church. These were termed Lady the canons of a cathedral church.
Chapels. Some churches have chapels Character. By this word we denote
attached to them not only round the both the originality of a work of art and
choir but round the side aisles. its general effect. When we say that a
— of the Dead. (Arch.) A chapel landscape has character we mean that it
built in the Middle Ages in the midst of has fine outlines. A work of art lacks
a burying place or cemetery. It was character when it is trivial or common-
frequently nothing but a simple canopy place and fails to impress the spectator.
of stone supported by columns and Charcoal. Charcoal either manu-
sheltering an altar. factured into crayons or in its rough
—, S e p u l c h r a l . (Arch) A chapel state is used for drawing purposes. It
annexed to a church or subterranean is prepared by burning wood, especially
80
CHA ART DICTIONARY. CHA
box and willow, in a close furnace. T h e vessels were exquisitely chased. T h e
term is also applied to drawings executed great master of the art in this period
in this medium. Thus we speak of a was Benvenuto Cellini. There are some
charcoal drawing. indications at the present time that this
Charge. (Her.) Any heraldic figure re- long neglected art is coming once more
presented in a coat of arms. [Ordinary.] into favour.
Charge. A French term applied to a Chasuble. An
composition, or more often a portrait, in ecclesiastical
which individual peculiarities are accen- vestment worn by
tuated so as to become grotesque. T h e all grades of the
charges of Callot are celebrated. [Cari- Roman Catholic
cature] . clergy. It is very
Charged. (Her.) A shield carrying simple in form,
some figure is said to be charged, and in being a circular
the same way a figure may be charged piece of cloth
by superposing some other figure upon it. with a hole in the
Chariot. An ancient carriage mounted middle, through
on two wheels and entered from behind. which the head
The chariot, in the allegorical art of to- is thrust. It is
day, has a triumphal signification. put on last and
Charities. [Graces.] covers all the
Charm. [Amulet.] other vestments.
Charnel-house. (Arch.) A gallery or In early times it
covered place annexed to a cemetery, was the same
where the bones of the dead were placed length before as
in the Middle Ages. behind, but in
Charon. In Greek mythology the ferry- the n t h century
man appointed by the gods to take the the front was considerably shorter than
souls of the departed across the river
Styx. Repiesentations of him are to be
seen on Greek vases and stelae.
Charter-house. (Arch.) A special
building or hall where charters, titles,
and other manuscripts of historic interest
and great value are kept.
Chasing. T h e art of embossing metal
and then cutting or chasing it with a
graver. T h e art of chasing was much
practised by the ancients, and the names
of several Greek artists who practised
this branch with success have come
down to us. One of these named Mys
was famous for having made a chariot
and horses which a fly could cover with
its wings. T h e art of chasing was of
importance in the creation of those
masterpieces of art, the chryselephan-
tine statues, the gold portion being
elaborately chased. In the great period
of Italian art many gold and silver the back. Soon afterwards, however, it
81
CHE ART DICTIONARY. CHI
regained its symmetrical form, and un bench to sit upon. It was the most im
derwent no further change. It was fre
quently richly ornamented. T h e modern
chasuble does not conform in any re
spect to the true model. Our second
cut is from Rubens' picture of Ignatius
Loyola.
Cheeky. (Her.) A term used to de- portant item in the household furniture
| τ - η ~ | scribe a shield divided into of the Middle Ages. In early times it
[ j 0 4 small squares. There are was simple in form
generally six rows of and only decorated
squares, and if there are by o r n a m e n t a l
less the fact should be iron-work. In the
specified in describing the 14th and 15th cen
shield. turies its panels were richly carved and
Chef d'oeuvre. [Masterpiece.] it was raised upon legs.
Cheiron. In Greek mythology Cheiron Chevet. [Apse.]
is the kindly centaur to whom Achilles Chevron. (Her.) T h e chevron is formed
and Jason owed their education. He by two bands one-fifth or one-
possessed nothing in common with the third the width of the shield,
centaurs except his shape, and was issuing respectively from the
skilled in all the dexter and sinister bases of
sciences and arts. the shield and conjoined at
r
Cheniscus. An <3" the centre or rather above
ornament in the it. T h e point of the chevron should not
shape of a goose's touch the top of the shield as in the cut.
head which was T h e term chevron is also applied to a
affixed sometimes very simple decoration of a geometric
to the prow, some pattern consisting of a series of lines in
times to the stern
of ancient vessels-
It is very often
met with in re clined to one another at a certain angle.
presentations of It is the most ancient ornament and is
ships on classical found in prehistoric and savage drawings.
monuments. One Chevronel. (Hér.) A diminutive of
is to be seen on the chevron.
Trajan's column. Chevronny. (Her.) Used to describe
Cherub. The head of an angel emerg a shield divided by a number of lines or
ing from two wings em strips in the form of chevrons.
ployed as a painted or Chiaroscuro. (Paint.) T h e art of dis-
sculptured ornament. In tributing light and shade in a picture,
the 17th and 18th cen- and especially of enveloping the figures
tuiies these figures were frequently em or other parts of the scene represented
ployed, and sometimes they are found in transparent half-tints or shadows very
on monuments of colossal proportions. fine in tone. Rembrandt above all ex-
Chesnut. A dark red brown colour. celled in the rendering of the effects of
Chest. A piece of furniture which chiaroscuro. T h e term is also applied,
serves the double purpose of a large but very rarely, to drawings in camaieu
coffer in which to store linen and of a (q.v.) In former times a drawing or
82
CHI ART DICTIONARY. CHI
picture in chiaroscuro meant a drawing a lion, the body of a goat, and the tail of
executed in monochrome, and depend- a dragon. Fantastic animals with the
ing for its effect entirely on the contrast head of a bird, the winged body of a lion,
of light and dark tints. or the figure of a man, and various other
Chic. A word of wide application very chimerical combinations were employed
often used in artistic slang, and generally in the Middle Ages as subjects for decora-
indicating either skilful execution or an tion either painted or sculptured. T h e
effect far removed from the conventional chimaeras of the Renaissance were em-
or commonplace. ployed as caryatids or supports in pieces
Chicory. T h e water-colour painters of of furniture, &c. Fine examples are also
1830 gave this name to a colour of a found on the frames of mirrors or borders
reddish yellow tone, not sold in the shops, of tapestry, placed in the midst of foliage
which they obtained by evaporating what and terminated in fantastic scrolls.
was left after four consecutive hours' boil- Chimney-back. (Arch ) T h e plate of
ing of a packet of common chicory burnt metal placed at the bottom of a fire-place.
and diluted in a quart of water. T h e T h e space between the hearth and the
colour thus obtained was bituminous in joints.
tone, like sepia, and closely resembled Chimney-hood. (Arch.) A mantel-
the pigments employed in the style of piece in the shape of
oil-painting then in vogue. a pyramid. T h e chim-
Chief. (Her.) T h e chief is an ordinary neys of the Middle
which occupies the upper Ages present many
third portion of a shield, examples of hoods
and is considered the most richly decorated with
honourable of ordinaries. arcadesand sculptured
It has one diminutive called ornaments. T h e chim-
the fillet, which is one-fourth ney-hoods of the period of the Renais-
of the size of the chief. sance are vertical, but are even more
When any charge is placed in the upper- extravagantly ornamented.
most part of the shield it is said to be in Chimney-piece. (Arch.) T h e chimney-
chief. piece was once
Chilled. (Paint.) T h e varnish on a an i m p o r t a n t
picture is said to have chilled when it element in the
becomes dim and cloudy. This defect is decoration of a
generally caused by moisture. room. To-day it
Chimaera. A fabulous monster, de- is generally set
into the wall or
concealed in its
thickness, and
consists of no-
thing more than
a marble frame,
sometimes richly
carved and surmounted by panels em-
bellished with mirrors and paintings.
The chimney-pieces of the Middle Ages
were, on the contrary, monuments of art.
Above the shelf, which was supported by
a chambranle of large enough dimensions
scribed in Homer as having the head of io allow a man to walk under it with ease,
83
CHI ART DICTIONARY. CHI
appeared the funnel or flue, pyramidal chin-pieces, for breath speedily con-
in shape and decorated with bas-reliefs, denses on the sui face of the stone,
arcades, and a thousand other deli- dilutes the ink or crayon, and seriously
interferes with the work.
Chippendale. A name applied igno-
rantly to almost all the furniture pro-
duced in England in the last century.
Thomas Chippendale, who has given
his name to so many chairs and tables
to which he never put his hand, was a
native of Worcestershire and a cabinet-
maker. His designs are somewhat
heavy and clumsy and are generally
^ S S / - imitated with a leaning towards the
cately sculptured ornaments, sometimes classical style from the French. Chip-
painted or heightened in effect with pendale furniture should be distinguished
gilding. T h e chimney-pieces of the 12th from the slender and graceful produc-
and 13th centuries were very simple and tions of Sherraton.
strong in outline. In the 15th and 16th Chisel. (Sculp.) An instrument of iron
they were extraordinarily rich In the or steel with a sharp be-
velled edge, used as a
cutting tool by sculptors.
It may be either straight
or bent. T h e word is
also a p p l i e d to the
sculptor's a r t : thus we
say that a sculptor has
a delicate chisel when his work is
17th and 18th centuries they were deco- executed with fine feeling. T h e chisel
rated with pilasters and scrolls, while the and the brush are used absolutely to in-
funnel was replaced by vertical panels. dicate the arts of sculpture and painting.
China. Pottery made of a transparent A cutting tool with a handle of wood
paste and originally brought to Europe
from China.
Chinese Paper. A fine yellow-tinted
paper, manufactured from bamboo fibre,
used for taking proofs of engravings. It
is generally called India paper (q.v.)
Chinese White. (Paint ) A white
pigment prepared from oxide of zinc.
It is not thoroughly satisfactory in oil- and a bevelled point is also called a
painting, but is the best white for use chisel.
in water-colour. It is permanent under Chiton. (Cost.) T h e chiton was the
all circumstances. garment worn next the skin by both men
Chin-piece. (Engrav.) A piece of linen and women in Greece. It consisted of
or cardboard, somewhat resembling a an oblong piece of cloth which was closed
gag, worn on the mouth by wood en- on one side, only a hole being left for the
gravers. T h e object of it is to pre- arm to be put through. On the other
vent the breath from spoiling the side it was open, though sometimes the
drawing ink. Lithographers also employ ends below the thigh were stitched to
84
CHL ART DICTIONARY. CHO
gether, and the upper ends were fastened when they attained the age of an ephebus,
together by a clasp. Round the waist it and was the distinctive dress of traveller
and soldier.
Choir. (Arch.) T h e part of a church
reserved for the clergy. In Latin
churches the choir was at the crossing.
At the end of the 12th century the choir
was extended and was placed in front of
the sanctuary below the apse of the
church. In the 13th and 14th centuries
the choir was closed by a wood roof and
surrounded by a cloister. Within this
cloister were placed the stalls, while
outside it was decorated with arcades
sometimes containing painted and gilded
bas-reliefs.
Chopine. A wooden clog or stilt worn
under the foot. T h e fashion of wearing
chopines came from Italy to England, and
prevailed in the 15th and 16th century.
In Venice the custom of wearing them
application to the last-named that chro- sesses a chapter of canons, but is not the
molithography has obtained its best seat of a bishopric. Such was the church
results. of St. Mary the Virgin at Manchester,
Chromotype. The art of printing in before it became a cathedral.
several colours by means of typographic Church, Conventual. A church at-
processes. tached to a convent.
Chromotypography. A process of —, Metropolitan. A church which is
printing in colour analogous to chromo- the seat of an archbishop.
lithography, with this difference that the —, Bound. A church the ground plan
prints are struck off typographically, that of which is circular. This is a very rare
is from relief blocks. form. T h e best known examples are the
Chryselephantine. A term applied to Temple Church in London and St.
works of sculpture executed in ivory, Saviour's at Cambridge.
gold, and other precious metals Chrys- Church Bells. (Her.) When church
elephantine statues were much esteemed bells are borne as an he-
in Greece. T h e Athene of the Parthenon raldic charge they are al-
as well as the Zeus Olympius, both from ways represented in per-
the hand of Pheidias, were chryselephan- spective and the clapper
tine statues of colossal size. In modern should be visible below the
times the sculptor Simart, at the instance rim of the bell, while the
of the Duke de Luynes, has attempted shank should be seen at the top. T h e
to restore the Athena of the Parthenon, bell and the clapper need not be of the
and his work was exhibited at the Uni- same tincture ; thus, a church bell argent
versal Exhibition of 1855. with a clapper sable.
Chrysographer. An illuminator who, Ciborium. A sacred vase in the shape
in the Middle Ages, traced in letters of of a covered chalice,
gold or silver initials, inscriptions to either gold or gilt in-
miniatures, and sometimes whole manu- side, in which the
scripts. host was kept. T h e
Chrysography. T h e art of tracing term is also applied
characters by means of gold or silver to a b a l d a c h i n o
ink on parchment, which was sometimes
purple-tinted. Chrysography was much
pursued as an art up to the 10th century
In the n t h and 12th centuries letters of
gold occur, with less frequency, but they
came into vogue again in the 14th, 15th,
and 16th centuries.
Chrysolite. A precious stone of a
yellow colour.
Chrysoprase. A green agate shaded covering an altar, or
with yellow. to the tabernacle of
Church. A building consecrated for the high altar. In
Christian worship. Churches are gene- some Christian basi-
rally cruciform, and are either in the licae the ciborium
shape of a Greek cross, when the four was of gold or silver,
branches are equal, or of a Latin cross, and was an elegant
in which case the nave is longer than structure generally supported by four
either the chancel or transepts. columns and with its openings veiled by
—, Collegiate. A church which pos- curtains of rich material. Other ciboria
«7
CIN ART DICTIONARY. CIP
a dead man or marked the spot where went they established circuses, and
he was buried. T h e larger of our two examples exist in England at Rich-
borough, Dorchester, and elsewhere. In
modern times the term is applied to a
circular building in which feats of horse-
manship and athleticism are displayed.
Cire-perdue. [Lost Wax.]
Cista. T h e mystic chest or cist, in
which the articles pertaining to the
mysteries of Demeter or Bacchus were
kept. T h e cista was in early times
made of wicker-work, but at a later
period was of bronze or even a costlier
material, and was artistically decorated.
T h e most celebrated cista known to us
is one that was found at Praeneste,
cuts represents a cippus in the British apparently of Roman workmanship, but
Museum. worthy of the traditions of the Greek
Circle. In geometry a plane figure, style. It is of bronze, and is surmounted
enclosed within a curved line, called the by two figures, one a bacchante, the
circumference, all points in which are other a faun. Its outside is decorated
equidistant from a fixed point called the with a design, the subject of which is
centre. In Christian art the circle is the the arrival of the Argonauts at Cyzicus.
emblem or symbol of heaven and eter- Citadel* (Arch.) A castle or strong-
nity, and no doubt it suggested many hold placed on a height to defend the
forms of decoration to ecclesiastical city near which it is built.
architects. Cithara. A musical instrument of the
Circle of Stones. (Arch.) An ancient greatest antiquity, known to the Greeks,
monument formed of blocks of stone but no doubt borrowed by them from
placed in a circle.
Circular. T h a t which has the form of
a circle or of a segment of a circle.
Circumscribe. T o describe one geo-
metrical figure round another so that
there are points of contact between the
two figures.
Circus. (Arch.) A vast enclosure where
the Roman people witnessed chariot the East. It resembled the guitar in
races, games, and public spectacles. shape, and was played by the finger or
The circus of the Romans was simple in struck by the plectrum. Our cut repre-
construction. It was oblong in shape sents an Egyptian playing the cithara.
and terminated at one end in a semi- City. A town, and also the special
circle, in which the spectators took their precinct or quarter of a town where the
seats. At the end opposite the specta- cathedral is situated.
tors were the carceres or stalls for the Claire-voire. [Clerestory.]
horses. Down the middle of the area Clamp. (Arch.) A piece of wrought
ran a low wall called the spina, round iron which holds together and binds into
which the racing chariots turned. T h e a stolid mass two walls or two pieces of
spina was decorated with statues, altars, timber.
and obelisks. Wherever the Romans Clasp. T h e purpose of a clasp is to
7 89
CLA ART DICTIONARY. CLE
securely fasten a closed book The Clay. A rich and compact earth, a
bindings of valuable kind of clayey marl with an admixture
MSS are generally of iron, sand, and limestone, in which
ornamented with rich sculptors execute their models It
clasps Some are de- ought to be kept damp, as it is then
corated with figurines easy to mould and yet offers sufficient
executed with the resistance to the fingers. When they
utmost care, others leave their work sculptors wrap up their
with foliage or oti.er ornament clay models in soft moist linen cloths,
Classical. Classical in the strict sense upon which they sprinkle water from
of the term is applied to the best period time to time from a particular kind of
of ancient Greek art, when such sculp- syringe with a rose at the end like a
tors as Pheidias and Polycletus, and such watering-can. Clay models if they are
architects as Ictinus, united in their left to dry in the open air shrink and
works respect for truth, observation of crack and speedily come to pieces.
nature, and worship of beautiful forms. Cleat. A small piece of wood nailed
Although classical literature includes on to the principal rafters of a roof in
the works of the Latin Augustan age, order to support the purlins or horizon-
the art of the Romans is only the art of
a period of decadence By analogy the
name is given to schools which take the
monuments of Greek art as their models,
deducing from them their canons and
inspiration, and sometimes even con-
fining themselves to a slavish reproduc-
tion of classical masterpieces without
making any attempt to grasp the princi- tal beams on which the common rafters
ples underlying them. This unintelli- rest. It is a kind of h a m m e r beam in
gent imitation has at different times the shape of a wedge, and its purpose is
given rise to violent reactions and has
provoked vigorous aesthetic discussions.
T h e term classical is also applied to such
masters as Raphael, whose work without
being the result of direct imitation of
Greek art, yet recalls it by the purity
and perfection of its design. And finally
modern work may be called classical, if to prevent the beams which support the
by common consent it takes a place rafters from slipping Our illustrations
among the masterpieces of the world. show the cleat in section as well as in
Classicism. A term applied to the perspective.
artistic tendency towards the classic Cleave. T o cut or divide diamonds
style. and crystals in parallel layers.
Classico-Romantic. Said of works of Clement, St. St. Clement was one of
undecided style which exhibit at the the disciples of St. Paul and St. Peter,
same time a classic and romantic spirit. and he is said to have been the Bishop
Claude Glass. A dark glass, in which of Rome for many years He was ban-
a landscape may be observed in reverse. ished by a prefect who governed Rome
T h e effect produced in it is said to re- in the Emperor Trajan's absence, but
semble a picture by Claude, and from even in his banishment he did not escape
this it derives its name. from the malice of his enemies. He was
90
CLE ART DICTIONARY. CLO
bound to an anchor and thrown into the circular in form, was made either of
sea, but the water receded three miles, beaten bronze or of wicker-work strength-
and his followers found a small temple, ened with ox-hides.
and within it the body of St. Clement Cliquart. (Arch.) A coarse limestone
with an anchor round his neck. In art used in the laying of foundations.
St. Clement is represented with a tiara Cloisonné. Cloisonné enamel is
and an anchor either round his neck or obtained by dividing a metal surface by
at his side. means of strips of wire welded on to the
Clerestory. (Arch.) T h e row of win- metal plate. T h u s hollows are formed,
dows placed in the upper story of the in which the enamel in coloured powder
nave in Gothic churches. It rises clear is deposited. Cloisonné enamels have
above the roof of the nave-aisles. T h e been manufactured since the 6th cen-
term, however, was once applied gene- tury. T h e altar given by Justinian to
rally to any row of windows in a wall or the church of St. Sophia was decorated
building. with cloisonne enamels. These enamels
Cliché. A relief in metal obtained by were as a rule executed on plates of gold.
electrotyping, from which engravings Cloisonné work of the highest merit
are printed. Cliché especially denotes comes from China and Japan.
the stereotype casts taken of wood- Cloister. A construction forming part
blocks, from which the cuts in books
and journals are now generally printed.
By this means not only can a far larger
number of impressions be struck off, but
the block itself can be easily multiplied.
T h e term is also applied to the photo-
graphic proofs on glass, which are called
negatives or positives, according as the
whites and blacks of the object repre-
sented are transposed or not.
Clipeus. T h e large round shield car-
of a monastery or adjoining a church.
It is generally a covered gallery sur-
rounded by a pierced arcade, and en-
closing a garden or courtyard. Cloisters
were ranged round the
sides of a quadrangle.
T h e arches which
looked into the quad-
rangle were some-
times glazed. The
cloisters were set
apart for recreation and study, and
carols or recesses exist in some cloisters,
in which the monks sat at work. A
lavatory, too, is frequently found in a
cloister, and is accounted for by the
fact that the cloister led to the refec-
tory.
Closet. (Her.) A diminutive of the
ried by the Greeks and Romans. It was bar, which is itself a diminutive of the
yi
CLO ART DICTIONARY. COF
fess. T h e closet should be half the width posed of alumina and phosphate of cobalt,
of the bar. or of silicate of cobalt and potassium.
Clothed. (Her ) A shield is said to be It is a bright blue pigment and is useful
clothed when a lozenge is in fresco and enamel as well as in oil
laid upon it in such a man painting. It is permanent as a rule,
ner as to cover the bulk though it is adversely affected by light
of the shield, leaving only and bad air.
the four corners uncovered. Cobalt-green. (Paint.) A permanent
This device is not much green pigment composed of zinc and
* employed in English he oxides of cobalt It is bright in tone, but
raldry. on the whole inferior to chrome greens.
Clouded. A term applied to precious Cob-wall. A wall built of straw, lime,
stones when their translucency is and earth is called a cob-wall. Cob-
dimmed. ^ walls are only found in the present day
Club. (Her.) A charge in her- ^ Ά in barns and outhouses of rude construc
aldry representing the weapon " tion, but the houses of the Greeks and
usually carried by Hercules. Romans in their best period are said to
Clubs are sometimes furnished have been built on this rough plan.
with spikes. Generally more than Cochineal. (Paint.) A dried insect,
one is represented on a shield. soluble in water, from which a brilliant
Clymant. (Her.) Said of a goat carmine lake is obtained.
standing on its hind legs. Cock. T h e emblem of watchfulness,
Coat, (i) (Paint.) A layer of colour placed from a very early date on the
of a uniform tint passed once over the summit of churches. It also symbolises
surface of a canvas. A coat of paint is St. Peter in allusion to his denial of
said to be thin when the ground or Christ.
another coat can be seen underneath it. Cockatrice. A fabulous monster, half
Coat. (2) A coating of plaster in which cock and half dragon, somewhat resem
the-putty mould is wrapped after rebak- bling a basilisk (q.v.). In Christian sym
ing in the operation of casting. bolic art it is the emblem of sin.
Coat Armour. A term applied to any Coeur. (Her.) A term sometimes used
military garment upon which the in heraldry to denote the heart or centre
armorial bearings of the wearer were of the shield.
embroidered. Coffers. Compartments of which the
Coating. (Paint.) A preparation with
which walls are covered before they are
painted in fresco. It consists of a mix
ture of chalk and sand or puzzolana
T h e walls must be painted while the
coating is fresh, and the surface which
is to be painted during the day should
be coated in the morning. circumierence is enriched with mould
Coat of Arms. (Her.) A coat bearing ings and the
armorial insignia worn over the armour centre with a
by mediaeval warriors, so that they sculptured or
might be distinguished by their soldiers. nament. They
T h e " Coat of Arms " as now understood are used in the
is a complete and distinctive heraldic d e c o r a t i o n of
composition. ceilings and
Cobalt-blue. (Paint.) A pigment com vaults. Their purpose was originally
92
COG ART DICTIONARY. COL
to fill the vacant spaces which exist Among the many operations in the
between the joists making of coins the engraving of the dies
of t h e c e i l i n g s ; and the execution of the matrix and coin
they soon became, are those which belong to the domain of
however, mere de- art.
corations to sur- Coins. Pieces of metal of different
faces, which when value, struck with the image of the
bare did not har- sovereign authority, sometimes repre-
monise suffi- sented by an allegorical figure or group
ciently with their ensemble. Many vaults of figures. Many coins, those of Greece
are decorated with coffers, and in for instance, are of the utmost impor-
Renaissance times many wooden ceil- tance in the study of art. For not only
ings were formed of hexagonal or oc- are they in themselves works of art of
tagonal coffers decorated with floral the highest merit, but they often bear
ornaments or arabesques, with penden- upon them representations of well-
tives often richly sculptured attached to known statues, and so are of great
their centre service in the illustration of the history
Cognisance. (Her.) A cognisance or of art.
badge is a device adopted by families as Cointise. A general term originally
a distinctive mark. It is not blazoned applied to any scarf or other ornamental
on a shield, and it differs from a crest in garment quaintly cut and fashioned.
being complete by itself, needing neither T h e wearing of cointises (from quinteux,
wreath or cap of maintenance to support fanciful) prevailed during the 13th and
it. Among notable badges may be enu- 14th centuries. T h e term especially
merated the ostrich feathers of the Prince denotes the kerchiefs worn by knights on
of Wales, the white and red roses of the the top of their helmets.
Yorkists and Lancastrians, and the broom Coliseum. (Arch.) An amphitheatre
sprig of the Plantagenets. in ancient Rome of elliptic form and
Cognoscente. [Connoisseur.] colossal dimensions.
Coif. (Cos ) A head-dress fitting tightly Collaboration. Participation in the
and originally tied under the chin. Worn eon-ception or realisation of a work of
at first by hunters and knights, it gradu- art. T h e r e is sometimes collaboration
ally became distinctive of the ecclesias- between architects, or between archi-
tical and legal professions, and in an tects and sculptors, especially in the
altered form finally became exclusively execution of a statue, a fountain, &c.
a portion of the lawyer's costume. Artists who follow different industries
Coilanaglyph. This barbarous and frequently collaborate in the execution
harsh-sounding word is sometimes of one object, such as a piece of furni-
applied to works of sculpture cut in a ture on which a sculptor, a cabinet-
solid substance, in which the relief of maker, a painter on enamel, a chaser
the figures is scarcely flush with the and an upholsterer may be engaged.
plane surface surrounding them. This In a case like this, however, the design
is the case with many bas-reliefs, to is generally due to one man alone, and
which the thickness of the stone forms the collaborators would more properly
a border, projecting beyond the most be called assistants or executants.
projecting of the figures. [Cavo-Re- Collar. An ornament worn round the
lievo.] neck, especially as the insignia of an
Coin. (Arch.) A belting course placed order of knighthood. T h e oldest order,
at the angle of construction. the knights of which are invested with a
Coinage. T h e manufacture of coins. collar, is the order of the Golden Fleece,
93
COL ART DICTIONARY. COL
which was established by Philip the invention of plates prepared with gela-
Good, Duke of Burgundy, in 1429. T h e tino-bromide
knights of the English order of the Gar- Cologne Earth. (Paint.) A pigment
ter, though an older body than the obtained from a bituminous earth re-
knights of the Golden Fleece, did not sembling sepia. It is chiefly used for
wear a collar until the reign of Henry making sketches in which broad effects
VIII. T h e knights of the following are aimed at.
English orders are invested with a collar : Colonnade. (Arch )
the orders of the Bath, St. Michael and columns symmetrically
St. George, and the Star of India. arranged in one or more
Collar-beam. (Arch.) A horizontal rows. T h e columns are
beam connecting a pair of rafters above, surmounted by an en-
their point of support. tablature or a series of
Collared. (Her.) This term is applied arches according to the
to an animal depicted on a shield with style of the building ~~
a collar about its neck, or in the case of T h e term colonnade is also applied to
an ape about its loins. T h e French porticos. This form of decoration was in
term is accolé (q.v ), which has also general use in ancient architecture, and
another meaning. is also found in modern buildings of the
Collarino. (Arch.) That part of the classic style. T h e west front of St.
capital in the Roman Doric and Tuscan Paul's, the work of Sir Christopher
orders which is included between the Wren, may be mentioned as a good
fillet below the ovolo and the astragal at example of a colonnade.
the top of the shaft. T h e collarino is Colonnette. (Arch ) A column, the
not found in the ancient orders, ex- diameter of which is very small in pro-
cept in a few buildings of the Ionic portion to its height. Colonnettes are
style. frequently used in buildings of the
Collection. A term given to a number Gothic style to support arcades, and
of pictures, drawings, prints, and objects when clustered form piers.
of art or curiosities belonging to one Colossal. Monuments, statues, or
person, by whom they have as a rule works of art are termed colossal when
been got together. These are private col- they are of extraordinarily vast dimen-
lections, but the name is also applied sions.
to the treasures amassed by public bodies Colossus. A statue of colossal dimen-
and kept in public museums. sions, such as were the Egyptian figures
College (Arch). A building or collec- of Osiris and the Sphinx. T h e statue of
tion of buildings established for the Apollo erected at Rhodes was a colos-
education of youth. T h e colleges at sus. Such, too, is the enormous statue
Oxford and Cambridge are among our of Independence executed but just now
most interesting architectural monu- by the French sculptor Bartholdi, and
ments. They usually consist of one or set up at the entrance to New York
more quadrangles, with buildings ranged harbour in America.
round them, in which the fellows and Colour. (Paint.) Colour in a general
students live, as well as a chapel, a sense is the impression produced upon
library, and a dining-hall the eye by coloured substances. In a
Collegiate Church. [Church, Col- more special sense it is the effect pro-
legiate.] duced by the arrangement of colours in
Collodion. A solution of gun-cotton in a picture. T h u s we say, " T h e Venetians
ether, a thin coating of which was spread have the genius of colour." Colour is not
on photographic glass plates before the only applied to drawings, in which objects
94
COL ART DIC VIONARY. COL
are modelled by means of different tints, to fade. In fact it is now generally re-
but also to those in which the effect is pro- placed by chromolithography (q.v.). In
duced only by means of contrasts of black cheap publications a process of colouring
and white. An engraving or lithograph, has been invented which is nothing more
for instance, without any other tone but than mechanical, but it can only be
black and white, may be more full of applied with satisfactory results to sur-
colour than a painting, if it produces a faces of considerable extent. It consists
more brilliant effect than the latter. in the employment of different patterns
Colour, Bronze. A colour of a greenish cut out in linen like vignettes equal to
or reddish tint. the number of the colours which are to
—, Flame. A warm brilliant shade be applied. T h e operator, by means of
of red. leading points, places the pattern on the
—, Flesh. A colour of a pale red tint, engraving which he desires to colour,
mixed with rose, white, yellow, and some- and passes a sponge impregnated with
times with bluish gr.ey in its shaded the necessary colour over the whole
portions. print, the colour only adhering to the
—, General. A term applied to the vacant space where the pattern has been
tonality (q.v.) of a whole picture. cut out. This operation is repeated as
—, Livid. A leaden tint, blue, violet, many times as is necessary, either before
or green, approaching to black. or after the drying is complete ; in the
—, Local. T h e colour which belongs former case an effect of blending can be
to a special object. T h e romantic obtained. In spite of the careful ma-
school extended this expression to mean nagement which is essential to this pro-
the accurate presentment of site, cos- cess it is inexpensive.
tumes, and accessories. When Decamps Colouring. (Paint ) T h e general effect
represented for the first time the true produced by the colours employed in a
Turks of Asia Minor instead of the con- painting. When we say that the colour-
ventional Turks with their garments ing of a picture is violent, bold, sad, fine,
decorated with a sun, he gave us an delicate, we refer to the sensation which
example of local colour. the colouring produces in us.
—, Pearly. A colour of a very fine Colourist. (Paint.) A painter is termed
and harmonious grey tone. a colourist when he prefers to aim at
—, Shot. A colour which varies accord- grand effects of colour, and to excel
ding to the angle at which it is seen. in giving his works a mingled brilliance
—, Wood. Wood colour is a yel- and harmony. T h e painters of the
lowish brown tint. When we say that a Venetian School are most celebrated as
figure is wood colour, we mean it is heavy colourists, and among them Titian and
and false and disagreeable in tone. Veronese must first be mentioned. After
Dark wood colour is frequently used in them come Ribera and Velasquez of the
industrial art to give to common white Spanish School, Rubens and Rembrandt
woods the appearance of darker and of the Flemish and Dutch Schools, and
more valued woods. Eugène Delacroix of the French School.
Coloured. W h e n certain surfaces T h e modern English School has produced
either in a drawing or engraving are several artists eminent in colour, the
covered with colour they are said to be Pre-Raphaelites being especially entitled
coloured. T h e engraved plates in scien- to mention.
tific works, for instance, are frequently Colours, Blended. T h e effect obtained
copied from models and coloured by by the passing of one colour or tone to
hand. This method of colouring is as a another by means of imperceptibly gra-
rule unsatisfactory and has a tendency duated shades or tints.
95
COL ART DICTIONARY. COL
Colours, Complementary. Colours Colum. A strainer for wine in use
the combination of which produces white among the Greeks and Romans at an
light. According to the laws of physics
the complementary colour to green
is red, that to blue is orange, that to
purple is yellow, and vice versa. In
practice the combination of complemen- early date. It was adopted by the
tary colours does not produce pure white Christian Church for straining the sacra-
at all, but grey. mental wine.
—, Heraldic. (Her.) Heraldic colours, Columbaria. (Arch). T h e recesses in
as distinguished from the heraldic metals ancient tombs in which the urns con-
and furs, are five in number : azure or taining the ashes of the dead were
blue, gules or red, sable or black, vert placed. They got their name from their
or green, and purpure or purple. In supposed resemblance to dove-cots.
blazoning they are thus abbreviated: T h e term is also applied to holes left in
az., gu., sa., vert, and purp. a wall for the insertion of timbers.
—, Light. Colours which by the addi- Column. (Arch.) A cylindrical support
tion of white remain clear. placed vertically, consisting generally of
—, Primary. Primary colours, which three parts : the base, the shaft or cylin-
cannot be compounded by mixture of drical portion, and the capital.
other colours, are three in number, red, —, Attic. (Arch.) A column decorat-
yellow, and blue. They are also termed ing an attic storey above the entabla-
ture.
—, Prismatic. A term applied to —, Cantonned. (Arch.) An engaged
the seven simple colours, purple, indigo, column placed at an angle to strengthen
blue, green, yellow, orange, and red, a pillar and to support the spring of an
which result from the decomposition of arch.
a ray of light by means of a prism. —, Composite. (Arch.) A column sur-
—, Relative. (Paint.) Colours which mounted by a composite capital.
blend easily and produce harmonious —, Corinthian. (Arch.) A lofty column
tones. with the proportions of the Corinthian
—, Secondary, are three in number. order. [Corinthian.]
Each of them is formed by the mixture —, Cylindrical. (Arch) A column of
of two of the three primary colours : constant diameter, the outline of which
thus, orange from red and yellow, green is determined by parallel lines.
from blue and yellow, purple from red —, Diminished. (Arch.) A column
and blue. having the diameter at its
—, Symbolic. In the works of early base greater than its dia-
Christian painters certain colours sym- meter at its capital. Doric
bolised or were exclusively associated temples offer the finest
with certain persons or subjects. For examples of diminished
instance, white was the symbol of light, columns. T h e diminished
purity, and faith, while black suggested column, which forms a
mourning, wickedness, and death. As truncated cone, was en-
art freed itself from the trammels of tirely abandoned in the
tradition this symbolism was soon for- 17th and 18th centuries and
gotten or neglected. replaced by the swelling column.
—, T e r t i a r y . Colours, variable in —, Doric. (Arch.) A lofty column with
number, which enter into the composi- the proportions of the Doric order.
tion of another colour. [Doric]
96
COL ART DICTIONARY. COL
Column, Embedded. (Arch ) A column C o l u m n , O v a l . (Arch.) A flattened
partly lost in the vertical wall against column, the section of whose shaft is an
which it is placed. ellipse.
It is called a half —, Paestian. A lofty column with
column when half of the proportions of the Doric columns of
it is engaged and the the temple of Paestum.
projecting portion is —, Pastoral. A column the shaft of
a semicircle. which resembles the trunk of a tree.
—, Engaged. [Column, Embedded.] —, Polygonal. (Arch.) A column the
—, Flanked. (Arch.) A column sur- shaft of which is polygonal.
rounded by pilasters. —, Ringed. (Arch.) A column deco-
—, Fluted. (Arch.) A column the rated with annulets in relief.
shaft of which is ornamented with —, Rostral. (Arch.) A column with its
flutings. shaft decorated by the prows of galleys.
—, Gnomonic. A column upon which —, Rustic. (Arch.) A column the shaft
a dial plate is placed. of which is decorated with projecting
—, Gothic. (Arch ) T h e name given to rustic work.
the clustered columns, forming a pier, —, Serpentine. (Arch.) A column
which are used in Gothic buildings. formed of interlaced serpents.
—, Grouped. (Arch ) A group of at —, Statuary. A column surmounted
least three columns placed upon a single by a statue.
pedestal. —, Swelling. A column in the form
—, Hermetic. (Arch.) A column of a prolonged spindle. Its diameter is
covered with hieroglyphics placed in the the same at its base and capital, but in-
most secret portion of an Egyptian tem- creases considerably towards its centre.
ple. Sometimes the swelling is only observ-
— in bands. (Arch.) A column formed able in one-third of the height of the
of drums placed one upon the other, the column.
height of which is less than the dia- —, Triumphal. A column erected in
meter. memory of a great victory.
— in trencheons. A column formed —, Tuscan. A lofty column with the
of drums placed one upon the other, proportions of the Tuscan order.
the height of which is greater than the —, Twin. (Arch.) A support consisting
diameter. of two columns of the same diameter,
—, Ionic. A lofty column with the pro- placed side by side or welded together
portions of the Ionic order. from base to capital.
—, Manubiary. A column the shaft —, Twisted. (Arch.) A column the
of which is decorated with trophies. shaft of which is made up
—, Menian. A column the capital of of several spirals. Accord-
which is surmounted by a gallery or ing to Vignole this column
balcony. should not consist of more
—, Miliary. A column placed on Ro- than six spirals. There are,
man roads at regular intervals of a thou- however, many examples
sand paces. of the twisted columns,
—, Monumental. A column erected the number of whose
in memory of a great person or event. spirals exceed that laid
—, Nicked. A column set back in down by Vignole. T h e twisted column
a vertical wall in such a way that a clear is chiefly used in cabinet-making, the
space is left between the wall and the decoration of furniture, &c.
shaft of the column from base to capital. Columna Bellica. A column of the
97
COL ART DICTIONARY. COM
temple of Janus at Rome before which briefly a commission, when it is ordered
proclamations of war were issued. by a collector, a municipality, or by the
Columns. Clustered. (Arch.) A collec- state, and has to conform to certain
tion of columns in conditions laid down in advance
j u x t a p o s i t i o n or Common-place. Said of works of art
welded together, in which the figures lack distinction
which form a pier either in line or colour, or in the choice
in Gothic architec- of subject.
ture. T h e plan of Common Wall. (Arch ) A wall which
some clustered serves to divide two adjoining proper-
columns exhibits ties, and half of which belongs to each
complicated combinations of arcs of of the proprietors.
circles and squares, which serve to Compass. An instrument used to
detach the columns from one another. measure dimensions or describe curves.
—, Coupled. (Arch.) Columns placed Compasses, generally of metal, consist
two and two, side by side, no account of two branches or legs, joined by a rivet
being taken of the rules by which the at the top, and terminating at their lower
intercolumnation is fixed. T h e pur- end in a point. One of these points is
pose of this arrangement is not only to movable and can be replaced by a
Compasses with fixed points. Com- the numerous elements of a work of art,
passes both branches of which are so that the subject is presented in a
sharpened to a point and which only manner which is easily intelligible, and
serve to take the measurements of a that the arrangement of the figures, the
drawing. disposition of the groups, the equili-
Compass-roof. (Arch.) A roof which brium of the masses, and the light and
extends the whole width of a building shade produce a general effect of grace-
from one wall to the other. It is used ful lines and harmonious colouring,
in opposition to a lean-to roof, and is which contribute to the unity of the
especially applied to open timber-roofs. work.
[Span Roof.] Composite. (Arch.) An order of ancient
Competent. An amateur, collector, architecture, the character of which is
critic, or expert is competent when special specially determined by the capital com-
studies added to natural taste have ren- posed of volutes and acanthus leaves,
dered him capable of a sound judgment and produced by the combination of the
and appreciation of works of art. Ionic and Corinthian capital.
Complementary. Two colours are Composition. (Arch.) T h e composition
said to be complementary to one another, of a statue or picture is good or bad in
when their combination, according to the proportion as the lines and groups are
laws of optics, produces white. Thus, red happy in arrangement, the attitudes are
is the complementary colour of green, probable, and the scene free and un-
while blue has orange for its comple- studied. A view of a town, for instance,
mentary colour, violet yellow, and re- composes well when the succession of
ciprocally. buildings exhibits a graceful and pictur-
Complex. A term applied to works of esque outline. A landscape is well com-
art comprising several distinct elements, posed when the trees, the distances, and
the composition of which requires the the foreground represent masses well
union of qualities generally very di- weighted and pleasant to the eye.
verse. Concentration of Effect. An arrange-
Complicated. A term applied to works ment of light and shade by means of
of art or compositions which are con- which the artist attempts to draw atten-
fused and embarrassed, or encumbered tion to one particular spot in preference
with too great a mass of details or acces- to other portions of his picture, which
sories, and which aim at expressing too are intentionally neglected or sacri-
subtle motives. ficed.
Compluvium. (Arch.) In a Roman Conception. T h e faculty of conceiving,
house the compluvium was the open understanding, and creating a work of
space in the roof of the atrium (q.v.), art. We say, for instance, that the con-
through which the water fell into the ception of a picture is bold, happy, or
impluvium (q.v.). undeveloped, &c.
Compony, or Gobony. A term applied Conch. T h e shell used by the Tritons
to a border or other ordi- on ancient paintings and reliefs ; hence
nary divided into small in decorative art an ornament resem-
squares of alternate tinc- bling the shell in shape.
tures. For example, the Conduit. (Arch.) A small
accompanying cut would be aqueduct or pipe to drain
blazoned argent, a bend off water.
sinister, compony gules and Cone. A solid figure for-
sable. med by the rotation of a
Compose. T o compose is to combine right-angled triangle round one of its
99
CON ART DICTIONARY. CON
sides as axis. T h e term cone of light is tectural motive, which supports still
applied to the divergent rays of light further projecting mouldings, cornices,
escaping from a very small circular balconies, &c. ; and is generally deco-
opening. rated with volutes at each end, which
Confessional. (Arch.) A kind of en- curve in different directions.
closed retreat devoted to confession, the Console, Reversed. A console some-
use of which does not go farther back times employed as a ,j
than the 15th century. In the 17th and support, but more
18th the confessional was an important often to fill a vacant
element in the interior decoration of space between two
churches. T h e r e is no specimen of a s u r f a c e s , o n e of
confessional left in England which be- which retreats be-
longs to the period before the Reforma- hind the other, and
tion, and therefore we are unable to say so to connect two
what form it took in this country in early architectural mem-
times. In those parts of the Continent bers. T h e lower
where Catholicism reigns, confessionals portion of the con-
are as a rule unpretentious structures sole, which is placed
of wood resembling sentry-boxes, and vertically, not hori-
fitted with a lattice. Some churches in zontally, is occupied by a scroll. T h e
Belgium possess confessionals of wood reversed console is never found in clas-
decorated by caryatides and covered sical buildings, but only in those belong-
with sculptured canopies marvellously ing to the period of decadence
rich in ornament. Construction. T h e art of employing
Conical. T h a t which has the form of materials in a building according to their
a cone. character and quality, so as to combine
Connoisseur. A term applied to a solidity and convenience.
m a n capable of giving a certain and Contour. An outline or line which
well-grounded judgment on one branch defines a figure or other object, whether
or other of the fine arts. drawn or sculptured.
Console. (1) A piece of furniture in the C o n t o u r n é (Her.) This term is used
shape of a table which is supported by to describe a charge which
feet, colonnettes, balustrades, & c , ac- is reversed on the shield,
cording to the epoch to which it belongs. that is to say, placed in a
position the opposite to its
usual one. Thus animals
should always face to the
dexter, so that the fish in the cut is con-
tourné.
C o n t r a s t . (Paint.) An intentional op-
position between several portions of a
picture, by reason of which each portion
has its proper value and their distinct
qualities are sufficiently evident.
It generally occupies a fixed place C o n t r a s t of Colours. When two
before a window or mirror. T h e con- strips of paper of the same colour but
soles of the period of Louis XIV. and of different intensity are placed side by
Louis XV. are masterpieces of decora- side that portion of the lightest strip
tive sculpture. which touches the darkest strip appears
Console. (2) (Arch.) A projecting archi- lighter than it really is, while the portion
100
CON ART DICTIONARY. COP
of the darkest strip which touches the clement weather and was worn by offi-
lightest strip appears darker than it is. ciating clergy at vespers, mass, celebra-
T h a t is, the juxtaposition of colours tion and consecration. It was fastened
changes their effect. Furthermore by a clasp and adorned with apparels
each colour has a tendency to assume (q v.) richly embroidered and even re-
the colour complementary to the colour splendent with jewels.
next to it. T h e discovery of this law of Coping. (Arch.) A term given to the
the simultaneous contrast of colours is stones on the top of a wall, which protect
due to M. Chevreul. There is one it from the weather. From the stress of
remark to add : if two bodies contain weather to which they were exposed,
a common colour, the effect of their ancient copings are extremely rare, and
juxtaposition is to weaken the intensity few have come down to us earlier than
of their common element. T h e laws of
optics which regulate this simultaneous
contrast of colours may be formulated
thus : istly. Every colour has a tendency
to tinge the colours near it with its com-
plementary colour. 2ndly. If two objects
contain the same colour, the effect of
their juxtaposition is to weaken the in-
tensity of their common element.
Contre-corbeau. (Arch.) A French
architectural term used in the architec-
ture of the 13th century, denoting a the Early English period. In buildings
medallion replaced between the corbels belonging to the Gothic period, a coping
supporting the springing of an arcade in the form of a small wall supporting a
and serving as a point roof is placed behind a balustrade which
of support for two runs along by a gutter, as is shown in the
s m a l l a r c h e s in- cut.
scribed with the large Copper. A metal which has proved of
one. the greatest value in the arts. In the
Co-operator. An first place it was used by the ancients in
artist who assists in the manufacture of shields, swords, vases,
the execution of a &c. In modern times it has been of the
I work of decorative utmost service to engravers, and still
I art, but takes no part remains from an artistic point of view
in its creation. the best metal both to work upon with
Cop. (Arch.) [Mer- the burin and to print from. T h e oxides
lon.] of copper yield a number of fine pigments,
C o p e . An eccle- such as blue verditer and Brunswick
i siastical vestment green.
generally made of a Copper-plate. (Engrav.) A plate of
stiff and costly mate- red copper, planed and polished, with
rial and ornamented its edges bevelled and its corners slightly
with embroideries or rounded, upon which engravers execute
jewels. It is semicir- their work. T h e term is often applied
cular in form and has to the completed work ; thus we speak of
a hood but no sleeves. a " successful copper-plate" in referring
It was originally a to the engraving itself.
protection against in- Coptography. T h e art of cutting out
101
COP ART DICTIONARY. COR
pieces of card so that when brilliantly Coquerelles. (Her.) A French heral-
lighted they throw shadows representing dic term applied to a
figures and objects of all kinds on a bunch of three filberts
white surface. in their husks conjoined
Copy. A reproduction of a work of together Coquerelles
art. If a painter copies his own picture, g e n e r a l l y a p p e a r in
it is dignified with the n a m e of a re- number on shields, for example, three
plica. coquerelles gules.
Copy, To. T o make copies of pictures Coquetries. A term applied to elegant
or to imitate the works, subjects, and scenes, graceful figures, painted in a
manner of an artist. bright and fresh tone.
Copyist. An artist who copies or re- "Coral. A calcareous product of the
produces either for the purpose of per- sea of a fine red colour used in making
sonal study or with some other avowed all kinds of ornaments. A fine clear
object the work of another artist. red, vivid and brilliant in tone.
Copyright, Artistic. Copyright is a Corbel. (Arch ) A projecting stone,
distinct and valuable property recognised the purpose of which is to support a
by law, and may be defined as the sole cornice, the
and exclusive right of multiplying copies springing of an
of an original work after it has been pub- a r c h , or t h e
lished. This right is by law vested in the projection of a
author of an original painting, drawing, gallery. The
or photograph and his assigns for the corbels of the
term of the natural life of the author, ioth, n t h , and
and seven years after his death, provided 12th centuries
that on the first sale of such painting or are decorated
drawing or the negative of such photo- with figures of men and animals, repre-
graph the copyright was expressly re- senting symbolic subjects. In the 13th
served to the vendor by agreement in century corbels
writing signed by the purchaser. A regis- disappeared from
ter of proprietors of copyright in paint- cornices, and
ings, drawings, and photographs is kept were used only as
at Stationers' Hall, and registration is supports to balus-
compulsory. In the case of sculpture, trades, machiola-
the copyright, whether commissioned or tions (q v.), the
not, belongs to the 8 author for fourteen s p r i n g i n g of
years, provided that before publication t r a n s v e r s e ribs
he inscribes his name and date on every (q.v.), or to serve
model copy, or cast, or finished work If as the point of
at the end of fourteen years the proprie- support. T h e r e are numerous examples
tor is still living, he may, unless he has of wooden corbels in the civil architec-
divested himself of the right, retain it for ture of the Middle Ages, and very often
a further period of fourteen years. A these corbels are placed in the upper
registry of sculpture is kept at the Patent part of the building, and uphold the pro-
Office, and every copy or cast pub- jecting cornice.
lished after registration must be marked Corbelling. (Arch ) Generally speak-
"registered." T h e sculptor, however, ing, a projecting construction supported
cannot protect himself against paint- by the courses of a wall jutting out, one
ings, drawings, engravings, or photo- above the other, or by beams or corbels
graphs. resting on a wall. T h e fronts of a great
102
COR ART DICTIONARY. COR
number of Gothic houses present exam- leaves, between which small volutes are
ples of corbelling. Each story juts out inserted. [Capital, Corinthian.]
beyond the one below it, so that when Corium. Body armour composed of
the streets are narrow and the gables leather is called
high the top stories of the houses ap- corium. It is fre-
quently made to
imitate scale
armour, as in
our cut, which
is from Trajan's
column. It was
w o r n by t h e
Romans, but its
use continued
far i n t o t h e <
Middle Ages.
T h e Saxons wore it, and representations
of it are found in the Bayeux tapestry.
Corner (Arch.) Angle or sharp edge
proach so near to one another as to of a block of stone or wood. T h e term
almost touch The galleries, passages, is also used to denote an angle formed by
arcades, and towers of many Gothic two walls meeting
buildings are similarly designed, pro- at right angles or
jecting beyond the sui face of the wall, disposed cantwise.
and resting upon corbels, consoles, or T h e term corner
decorated mouldings. cupboard is ap-
Côrbel-table. (Arch.) A series of cor- plied to a piece
bels placed at regular intervals to support of furniture of triangular shape, which
a parapet or any continuous projection. is placed in an angle formed by the
Corbie (Arch.) A Scotch term applied meeting of two walls.
to the steps in the roof of a gabled house. Corner of the Abacus. (Arch.) T h e
C o r d o n . (Her.) T h i s projection of the en-
term is used in French tablature in capitals
heraldry to denote the of the Corinthian
cord with tassels sus- order and in certain
pended round the shield Ionic capitals of the
of an ecclesiastic by way Renaissance of the
of crest. It is supposed 17th and 18th cen-
to represent the girdle turies, of which the
worn by the religious orders. four surfaces are symmetrical.
Core. T h e interior of a mould em- Corner-post. (Arch) an architectural
ployed in the founding of a statue. T h e member placed at the angle or corner of
metal runs between the core and the a building.
mould, and when the work is complete Cornice. (Arch.) T h e upper part of
the core is removed through an aperture an entablature which projects beyond
left for the purpose. [Founding.] the frieze. A large moulding, which
Corinthian. (Arch.) An antique order forms the coping of a façade or portion
of great richness, the character of which of a façade, runs round an apartment
is invariably determined by a capital underneath the ceiling, or surmounts
decorated by two rows of acanthus a door, window, dresser, &c. The
103
COR ART DICTIONARY. COR
term is also applied in Gothic archi- perity, and in classical art was asso-
tecture to the high moulding, sometimesciated with those deities, which had
power over the natural world.
Corona. (Arch.) A slight projection in
a roof which serves
to protect part of a
building from the
running of water.
In old houses coro-
decorated' with foliage, which extends nale are often found
over each opening.
I n classical archi-
/,„//·· "11 tecture the term is
applied to the pro-
jecting moulding which forms a cornice.
T h e horizontal surface of a corona is
Cramponné. (Her.) A charge is said the vessels used in the services of the
to be cramponné when it Church. At the time of the Renaissance
terminates in a cramp.
T h u s we speak of a potence
cramponné, a muscle cram-
ponné. It is cramponné
dexter or cramponné sin-
ister, according to the side
upon which the cramp is placed.
Crancelin. (Her.) A coronet extended
in bend. T h e word is of
German origin and signifies
a garland of flowers. It is
borne in the arms of Saxony,
and the Prince of Wales
quarters it in his shield.
Crater. An antique vase in the shape
of a truncated cone, and in the 17th century they were lavishly
which stands upon a decorated with sculptured reliefs and
hemispherical base
and is double handled.
It was used for mixing
wine and water. T h e
name crater is sometimes given to drink-
ing cups. In ancient times craters were
made of silver or bronze, and were very
large in size.
Crayon. Small cylinders of chalk or
some other material, which are used for
drawing purposes. Black crayons are
composed of chalk and blacklead, red
crayons of ochreous clay containing red other ornaments, and made the recep-
iron oxide, while white crayons are simple tacle for gold and silver plate.
sticks of chalk. A drawing executed in Cremnitz White. (Paint.) A white pig-
black crayon is sometimes called a crayon ment composed of pure white lead. It
or chalk drawing. In lithography an oily is the brightest white used in oil paint-
kind of crayon is used composed of a ing, but has less body than flake white.
mixture of soap, wax, tallow, and lamp- It is also termed Vienna white, as it is
black. It is non-resisting and is very manufactured in Vienna.
difficult to cut. Crenellated. Embattled. [Battle-
Craze. (Pot.) A term which denotes ment.]
the cracking of the glaze on a piece of Crenelle. (Arch.) A term properly
pottery, caused either by imperfect fusion
or by the too sudden removal of the
pottery from the kiln,
Credentia. A piece of furniture con-
sisting of several shelves one above the
other. T h e ecclesiastical credentias of
the Middle Ages were sometimes circu-
lar in form, and upon them were placed applied only to the loopholes in a battle-
108
CRE ART DICTIONARY. CRI
ment, but also used to signify the battle- cuts here given represent ecclesiastical
ment itself. The adjective crenellated crests.
is used of a building which is furnished Creste. (Arch.) A pierced leaden
with a battlement as a means of defence. ornament placed vertically on the ridge
[Battlement.] of a roof. Many churches, as well as
Créquier. (Her.) A French heraldic buildings erected for civil purposes, in
term applied to a chan-
delier of seven branches,
sometimes borne as a
charge. T h e word créquier
is an old French word for a
plum-tree, but it is now
only employed in the sense
just defined.
Crescent. (Her.) A common charge in
heraldry, and also a mark of difference the Middle Ages and the period of the
used to distinguish the second son. It is Renaissance have their roofs decorated
said to be reversed when its horns are with crestes richly ornamented and some-
times gilded.
Crevasse. (Arch.) An irregular crack
in a wall running longitudinally.
Crimson Lake. (Paint.) A rich red
pigment consisting of the extract of the
coccus cacti insect, with oxide of iron as
turned to the bottom of the shield; in-
a base. It is more useful in water-
crescent when they look towards the
colour than in oil-painting. It is not
dexter side ; decrescent when they look
very permanent, and disappears under a
towards the sinister.
strong light.
Crest. (Her.) Criophorus. The word κριοφόρος
In heraldry the means literally " o n e who carries a r a m . "
term crest de- It was the name given by the people of
notes any ad- Tanagra to Hermes, who had saved them
dition such as from a plague by carrying a ram round
a helmet or a the walls. Examples of the criophorus
crown placed are found not only in Greek art, but
above the in Graeco-Roman and Christian art.
shield. In the Hermes especially is thus represented.
case of an ecclesiastic the crest is a Crispin and Crispianus, SS. Two
saints who left Rome with St. Denis to
preach the gospel in France. During
their mission they worked at their trade
as shoemakers, and they are said to have
been supplied with leather by angels.
They are consequently the patron saints
of shoemakers, and representations of
them are frequently found in the shoe
makers' guilds of France and Germany.
They were long very popular saints in
England. Their attributes are an awl
and the^palm.
IF IT 109
pastoral staff or else a cap. Both the
CRI ART DICTIONARY. CRO
Cross, Greek. A plain cross with four ing from the centre outwards. Some·
equal limbs. It is sometimes times the sides of the
represented inscribed in a limbs are curved as in the
circle ; for example, the robes accompanying cut, some-
of saints are often ornamented times straight as in the
with a border composed of Malta cross, but in either
Greek crosses placed in circles. Most case the limbs in the cross
of the Eastern churches are built in the patée are always terminated by a straight
form of a Greek cross. line.
—, Gringolée. A cross the limbs of Cross, Patriarchal. This is a Greek
which are terminated cross, the upper limb of which
each by two snakes' is crossed again, so that a
heads turned outwards. double cross is formed. It
T h e term gringolée may is also called the cross of
also be applied to sal- Lorraine, from the fact that
tires or other charges it was borne by the dukes
ornamented in this way. of that province.
—, Latin. In this cross the lower —, Pommée. T h e limbs of this cross
limb is longer than the other are terminated by a single ball. It is
three. Nearly all Romanesque called by the French cross bourdonnée
and Gothic churches are built from bourdon, a pilgrim's staff, which
on the model of this cross. was a long stick with its upper end
T h e nave takes the place of rounded off in the form of an apple
the long lower limb, the choir (pomme).
is the head of the cross, and —, Potent. This cross has its four
the transepts are the two arms. limbs crossed again at the
—, Maltese. A cross with equal limbs ends, so that each is in the
which widen from the centre form of the letter T. T h e
outwards. T h e Knights of term potent, which is also
Malta, as heirs of the Knights applied to an heraldic fur,
Hospitallers of St. John of is an old English word for
Jerusalem, bore this cross as crutch (cf. Fr. potence.) T h e word still
the distinctive mark of their order. In survives in Norfolk under the form of
heraldry this cross is more frequently pottent.
represented with an indentation in the —, Processional. A cross
middle of the broad end of each limb, with or without the figure of
thus distinguishing it from the cross Christ upon it, generally of
pâtée, and earning for it the second n a m e metal, and carried at the end
of cross of eight points. of a shaft or handle. As its
—, Moline. A cross the limbs of name implies it is used in
which are terminated the ceremonial processions of
by fers de moulin or the Roman Catholic Church.
millrinds (q.v.) It is Processional crosses are often
not unlike the cross composed of precious metal
anchored, but the ends adorned with gems. In the
expand more, and some- early days of the Church the
times the limbs are large processional crosses
pierced as in the cut. were garlanded with flowers,
—, Pâtée. Like the Maltese cross this each arm supporting a flaming
is composed of four equal limbs widen- torch, while swinging from the arms by
112
CRO ART DICTIONARY. CRO
chains hung the letters A and Ω. Many the key-stone itself. T h e term is like-
fine examples of processional crosses are
still preserved, notably at St. Denis, near
Paris, where is to be seen a cross of the
12th century, of oak, covered with plates
of silver and copper gilt.
Cross, Roadside. On the continent of
Europe numerous roadside crosses, or
calvarys, are to be found at conspicuous
places, such as the meeting of four
wise applied to the projection of mould-
cross roads, the entrance to a village, &c.
ings which surround a bay.
In England they were mostly destroyed
Cross-hatch, To. T o draw lines cross-
by the Puritan iconoclasts.
ing other lines to obtain depth of shadow.
—, St. Andrew's. T h e cross of St [Hatchings.]
Andrew is in the form of the Cross-hatching. Lines or hatchings
letter X. In heraldry it is crossed by other hatchings.
more frequently described as Crossing. (Arch.) T h e part of a Gothic
a saltire. In woodwork a church west of the choir where the nave
cross of this shape formed and transepts cut one another at right
of two beams is constantly used to angles.
strengthen a rectangular structure.
Crotala. Castanets of wood used in
—, St. Anthony's. T h e cross of St. very ancient times, especially in the
Anthony is simply the letter T .
—, Tau. This is identical with the
cross of St. Anthony. It takes its name
from the Greek letter.
—, Trefled. A cross the limbs of
which are ornamented at
their extremities with
three semicircles repre mysterious worship of Cybele. They
senting the trefoil. It is were also used by dancers to beat time
sometimes called the cross with.
of St. Lazarus, and in Crown, (i) (Her.) A crown differs from
France the cross fleuronêe. a coronet in being arched over, and being
Cross-bow. A weapon introduced into generally more elaborate. T h e distin-
England in t h e n t h century. It dis- guishing feature of what is called the
charged iron-shod arrows or burning
material to set fire to buildings. It was imperial crown is the ball surmounted
a very deadly weapon especially in the by a cross as shown in one of the accom-
hands of the Venetians and Genoese. panying cuts. This feature is common to
[Arbalest.] all countries, but other details are subject
Cross-cut. T o cut across the edges of to variation. T h e other cut here given
a piece of wood. represents what is sometimes called the
Crossette. (Arch.) T h e projection of royal crown.
a key-stone which is carried on above I We give a few examples of various
"3
CRO ART DICTIONARY. CRU
kinds of crowns. T h e first cut represents following centuries they were siili richer
the simple crown of bay leaves, worn in in design, but in the 17th century they
ancient Rome. Cut 2 is the mural
crown, placed in ancient art upon the
head of Cybele. Cut 3 is a radiated
crown. Cut 4 represents the square
crown worn by the Saxon kings. Cut 5
a foot. Cups are principally made of the care of museums and of public col-
metal, but also lections of works of art.
of crystal or por- Curiosities are ancient, rare, precious,
celain. Those or curious objects, which it is the delight
given as prizes and passion of amateurs and collectors
in certain com- to gather together. T h e term is a very
p e t i t i o n s are comprehensive one, and includes all
often works of art and are richly orna- those objects in which the antiquary
mented. takes an interest.
Cupboard. A piece of furniture which Curtain, (i) (Fort.) As a military term
in olden times served the purpose of a this word denotes the parapet extending
sideboard. It frequently took the form between and uniting two towers. T h e
of a recess in the wall, fitted with shelves,
upon which plate, &c., was set out.
Cupid. T h e god of love, the son of
Aphrodite or Venus. Cupid (or Eros as
h e was known to the Greeks) was a
favourite subject with ancient sculptors,
Praxiteles being especially famous for
his statues of the god of love. H e is gene-
rally represented winged and holding a
bow and arrows. In works of decorative word is occasionally applied in a similar
art, belonging to all ages, cupids or amo- sense in civil architecture to a façade
rini are frequently found. terminated by two turrets.
Cupola. (Arch.) A concave roof, gener- Curtain. (2) A term applied in the lan-
ally circular in form. T h e term is applied guage of theatrical decoration to a large
indifferently to the dome and its interior. hanging which separates the stage from
But for this there is no authority. Pro- the auditorium between the acts of a
perly speaking the cupola is only the drama. Upon its large surface a piece
interior vaulting, and it is frequently on
a different plane from the dome which
surrounds it outside. Between the two
Decadence. Art is said to be in deca- corated style, while its mouldings con-
dence at a particular period when the sist of rounds and hollows separated by
works produced at that period are not fillets.
equal to those of the time immediately Decoration. By the decoration of a
preceding. T h e expression is also ap- façade we mean the system of ornament
plied, but often incorrectly, to certain which is placed upon it. This may con-
works designed and executed without sist of designs either sculptured in relief
sufficient regard to the laws and tradi- or painted. One branch of the art of
tions of classical art. decoration is the adornment of rooms
Decastyle. (Arch.) In Grecian archi- with tapestries, works of art, tropical
tecture a temple was termed decastyle plants, &c. Under the term theatrical
when it had ten pillars in its façade. decoration are included all the curtains,
Décentre. T o remove the centre, or painted scenes and furniture, which help
temporary structure of wood upon which to give an air of reality and splendour
arches are built, after the masonry has to a scene on the stage.
consolidated. [Centre.] Decorative. A work of art is said to
Decimetre. T h e tenth part of a metre. be decorative when it is applied to the
A metre is 39*37 inches, and consequently decoration of a particular space, and
a decimetre is 3-9 inches, or very nearly when it is designed with a view to the
equal to a hand. shape and character of the space which
Decorated Style. T h e culmination of it fills. A painting may be said to be
the Gothic style in England is generally decorative when, quite apart from the
termed decorated. It was introduced in subject it portrays, it produces upon
the reign of Edward I., and the crosses the spectator the impression of a piece
raised in honour of Queen Eleanor are of decoration, either from the harmony
among the earliest specimens of it. It of its colouring or the beauty of its lines.
flourished throughout the reigns of Decorative Art is that branch of art,
Edward II. and Edward III., and then which is applied to the decoration of
gave way to the Perpendicular style, objects of luxury or use, and to the
which marked the decline of Gothic adornment of houses and other build-
architecture. T h e windows in buildings ings. T h u s the object of decorative art is
of this style are divided into lights by not the creation of a separate work, such
mullions. T h e largest known decorated as a picture or statue, but the produc-
windows have nine lights, as for instance tion of sculptures, paintings, or fabrics
the east window in Carlisle Cathedral, which are intended to fulfil a definite
but in smaller churches two or three is purpose, and to decorate a room or
the usual number. T h e tracery in the wall space.
windows is either geometric, consisting Decorator. An artist who devotes
of circles, trefoils, quatrefoils, & c , or himself to decorative painting or sculp-
flowing in wavy lines. Circular windows ture, and executes his work with due
are common and the arch generally regard to the space which it is intended
used in decorated buildings is equilateral. to occupy.
T h e doorways of this style are chiefly Dedicated. Works offered to distin-
noticeable on account of their ornament guished persons or submitted to their
In form they differ but little from those of patronage by a written, printed, or en-
the previous style. T h e pillars are often graved dedication are said to be dedicated
diamond-shaped with shafts engaged, the to them.
capitals generally plain or ornamented Dedication. An inscription engraved
with well-carved foliage. T h e ball-flower on plates principally of the 17th and 18th
ornament is almost peculiar to the de- centuries. T h e inscription sometimes
120
DEL ART DICTIONARY. DEN
embodied armorial bearings, and de- in Attica and her teaching Triptolemus
scribed the respect of the engraver for the use of the plough.
the possessor of the picture or his Demi-brassards. Half armour for the
gratitude towards some person of high arm [Brassards.]
rank. Demi-column. A column so built
Del. Abbreviation of the word deli- against a vertical wall that only half
neavit. It follows the name of the of the column is seen, the rest being
original author of a drawing which has built into the wall. [Column.]
been reproduced by engraving or litho- Demi-dolmen. When one of the verti-
graphy. cal supports of a dolmen are non-exis-
Delft. (Pot.) Earthenware painted and tent so that the table of the dolmen
glazed is called delft, from the town rests with one end on the ground it
Delft, where it was first made. It is is called a demi-dolmen, or an imperfect
generally of rude workmanship, and
more quaint than beautiful in colour
and design.
Delineation. T h e outline of a figure
or landscape.
Delta. A triangle surrounded by rays
and containing inscribed within it the
name of Jehovah in Hebrew charac- dolmen. When such dolmens were of
ters. large dimensions they were employed
Demeter. Demeter, the daughter of for the massacre of victims, who were
Cronus and Rhea, was the goddess who marched up the sloping surface and
watched over agriculture and the produc- precipitated from the top. [Dolmen.]
tion of the fruits of the earth. When her Demi-lion Rampant.
daughter Persephone was carried off by (Her.) A lion, of which the
Hades, she sought for her in every land, upper half only is repre-
conferring wherever she went the bless- sented on a chief or fess,
ings of agricultural prosperity. She was the animal thus appear-
especially revered in Attica, to an inhabi- ing at the top of the
tant of which, Triptolemus by name, she shield.
is said to have taught the use of t h e Demi-vol. (Her.) Used to describe
plough. Her worship is in some measure a single wing of a bird with
connected with the belief in a future the features turned towards
state, and the Eleusinian mysteries held the sinister side of the
in her honour are said to have had an shield. Several shields
ennobling effect on all those who were present three demi-vols on
admitted to them. Her n a m e is gener- the same surface.
ally mentioned with that of her daughter Demolition. T h e destruction of an
Persephone (q.v.), the goddess of the edifice.
lower world, in whose charge was the Denis, St. St. Denis of France is con-
seed committed to the earth. Among founded in the legend with St. Dionysius.
the known statues of Demeter, the finest This connection is not supported by his-
is that found at Cnidus and now in the torical criticism, but in art they are
British Museum. T h e goddess is repre- always represented as one. Dionysius
sented draped and with a veil, and there (or St. Denis as he was called when he
is much religious dignity in the figure. went to Paris) was a Grecian philosopher,
In representations of Demeter on vases, who was converted to Christianity by
allusion is generally made to her sojourn St. Paul. He became bishop of Athens
121
DEN ART DICTIONARY. DEV
and afterwards of Paris. While at Paris for a machine, or by an artist for a paper
he was persecuted and finally beheaded or stuff, are called the design for the
by the Roman pro-consul St. Denis or building, machine, &c. The art of de
Dionysius is represented in art as carry sign is the adaptation of forms to
ing a head in his hand. spaces, objects, and materials. The
Dentels. (Arch.) A system of orna business of the designer is to fill space ι
ment, which breaks the horizontal or panels with designs which at once
moulding of an entablature, and throws fit the space in which they are placed
shadows below the projection caused by and are harmonious in themselves.
the cornice in the Ionic and Corinthian Designer. An artist who executes
decorative designs for industrial pur
poses—wall-papers, carpets, & c , &c.—is
called a designer.
Desk. Desks sloped at various angles
are used for various purposes : (i) for
painting miniatures upon ivory ; (2) for
painting on porcelain ; (3) for retouching
photographs ; (4) for executing tracings.
Detached. (Arch.) Isolated, standing
orders. Dentels are formed by punching by itself. A column
out rectangular pieces from a large fillet is said to be de
(q.v.) Their height is generally double t a c h e d w h e n i t
their breadth, and they are separated stands apart from
from one another by a space half as the building to which
broad as the dentei itself. it belongs. It may be connected with
Depict. [Paint.] the rest of the building either by a plinth
Depth. (Paint.) T h e distance mea or an entablature. A house is said to
sured from the bottom of a picture to the be detached when it does not join
horizon. We sometimes say of a land another house on either side, but has
scape that it wants depth. a free space all round it. In a painting
Derby China. T h e factory of porcelain figures are said to be detached, when
at Derby was established by Duesbury they stand out naturally from the back
in 1750. T h e china made at Derby in ground.
the last century was of great beauty, and Detail. This word is used to describe
the blue and gold pieces were especially the secondary or accessory parts in a
admirable. At one period china thimbles picture or a group. In certain kinds of
formed an important part of the industry. work, as in easel-pictures for example,
At the beginning of the present century the detail should be carefully executed,
the Derby factory passed into other because the work will be subject to close
hands, and was finally closed in 1848. inspection. But in wall pictures on the
Descent from the Cross. A picture other hand an over-scrupulous execution
representing Joseph of Arimathea and of the details would spoil the general
the disciples of Christ lowering the body effect. In architecture the detail is
from the cross. the smaller ornamental work. It is
Design. (Paint ) T h e preliminary executed from the architect's designs,
sketch of a picture. A collection of lines, and from it the building gets much of
which serves as the base of a composition its character.
and marks the more important points Develop. (Photo.) After the sensitive
in it. T h e plans prepared by an archi plate has been exposed in the camera to
tect for a building, or by an engineer receive the image it is removed into a
122
DEV ART DICTIONARY. DIA
partially darkened room, where it is sub- Diaconicum. (Arch.) One of the lateral
ject to the action of certain chemical absides of Christian basilicae in which
reagents. By this means the image on the treasure was kept. It was some-
the plate is developed. times called secretarium.
Device. An emblem or motto, which Diadem. A circlet worn round the
was borne by mediaeval Knights upon heads of kings in ancient times. It was
their shields and banners, and served to of silk or wool and was tied at the back
distinguish them in battle or at tourna-
form of a youthful deity crowned with at the waist and fell in picturesque folds.
ivy or vine leaves and carrying a
thyrsus and cantharus, or drinking-
cup. Over his shoulder he wears the
skin of a stag, and he rides in a chariot
drawn by tigers or panthers. T h e In-
dian Bacchus is represented as bearded
and draped, with none of the jollity
which we are wont to associate with the
wine god.
Diorama. This is a method of produc-
ing pictorial effects invented by Da-
guerre and Bouton in 1822. A picture
which is not intended to be all seen at
one time is painted on a large cotton
sheet and additional figures and objects
are painted on the back of the sheet.
T h e spectator sits in a dark room at
some distance from the painted sheet,
which is illuminated from the front and
also when required from the back. T h e
lighting is so arranged that it can be
varied in direction and intensity and
colour at will, and thus different portions
of the canvas are successively brought It also denoted a kind of double cloak,
into view, and the same can be made to as in our cut.
assume the appearance of daylight, dusk, Dipteral. A term used to describe
or moonlight as required. By throwing a temple surrounded by a double row of
a light from behind on to the back of the columns.
screen, the objects , there painted are Diptych. A painted or carved panel
rendered visible to the spectators in
front, and thus new figures can be in-
troduced into the scene painted on
the front side.
Diota. An ancient two-handled
vase, a
s m a l l am-
phora. Its
body was
o v o i d a l in
shape and
was sur-
mounted by
a narrow
neck.
Diplois.
(Cost.) The
name given by folding in half by means of hinges. A
the Greeks to the part of the chiton beautiful ivory diptych representing the
which was drawn up over the girdle triumoh of Bacchus is to be seen in the
126
DIR ART DICTIONARY. DIS
Bibliothèque Nationale at Paris, where the discus resembled a shield without a
handle. T h e quoit-thrower grasped it
in his hand, letting it rest in his palm
and fore arm. Some quoits are works
of art, representations of athletes and
athletic contests being engraved on
them.
Dish. (Pot ) A broad flat vessel, some
times with a rim, sometimes without,
it is used to protect a valuable manu- upon which food is brought on to the
script table.
Dirk. A term given to the dagger Disk. A flat circular sheet of metal or
(q ν ) in Scotland. any other substance.
Disciple. An artist who adopts the Dismembered. (Her.)
general method of some noted master, to describe figures of
and is inspired by his teaching or ex birds without claws or
ample, is often said to be the disciple legs. A dismembered
ot that master. eagle is frequently em
Discobolus. A quoit-player T h e disco ployed in German coats
bolus was a favourite subject with Greek of arms.
sculptors, and several admirable statues Disperse. To divide and spread over
of discoboli have come down to us. By the whole surface the interest of a work
of art. T o place in different parts of
the canvas the lights of a picture. It is
a term of reproach, for when the interest
is dispersed the eye, attracted here and
there, is unable to concentrate itself on
any one point.
Displayed. (Her ) An eagle or other
bird is said to be displayed
when its wings are spread
and turned towards the
upper part of the shield.
In this case the feathers
of the wings have the ap
pearance of rays.
Disposition. (Paint.) T h e arrange
ment of the various parts of a work of
art T h e disposition of a picture is
eccentric when the drapery and acces
sories are not naturally arranged.
Disproportion. T h e absence of correct
far the most celebrated is that of Myron, subordination of one part of a picture to
who represented the athlete in the dis another
torted attitude assumed just before the Distaff. T h e distaff of the ancients
discus or quoit was thrown. was of very simple construction. It was
Discord. An inharmonious or incon simply made out of a cane, which, when
gruous arrangement of colours is often split at the top, formed a kind of bas
called a discord ket, in which the flax was placed. A
Discus. A quoit. As used in Greece ring was then put round it so as to hold
127
DIS ART DICTIONARY. DOL
phins are especially used to decorate the donjon were preserved the archives
fountains. They are also used in her- and treasure. In the case of siege, the
aldry, and are then generally represented donjon was the last resort of the be-
in profile with their bodies bent into a sieged. In early times donjons were
semicircle. constructed, according to the Norman
Dome. (Arch.) A roof formed by a custom, on a square or rectangular plan.
series of arches springing from consecu- In the n t h century they assumed the
tive points on a circular or polygonal form of quatrefoils and afterwards were
plane base and crossing one another at cylindrical in shape. In the 12th cen-
the summit. T h e tury particular attention was paid to
solid figure thus their fortifications and means of defence.
formed may be But after a time splendour rather than
roughly described strength was aimed at, and in the 14th
as hemispherical, and 15th centuries donjons became
a n d if, for e x - nothing more than magnificent dwelling-
ample, the plane houses.
base were a true Donor. In former times the donors of
circle, and the pictures or windows to churches were
arches true semi- frequently portrayed kneeling before
circles, the dome would then be a true the figure of the saint whose portrait they
hemisphere had presented.
—, P o l y g o n a l . Domes are some- Door. (Arch ) An opening or bay, which
times built with serves the purpose of entrance or exit.
a polygon as Gothic churches are generally provided
their base. T h e with doors of great beauty, which vary
Louvre in Paris in style according to their period. In
presents several Norman churches the archivolt is a semi-
examples of the circle and is supported by small columns.
polygonal dome, At a later date vertical supports deco-
as well as of the
dome erected upon a square base
—, Surbased A dome, the surface of
which above the roof is less than a
hemisphere.
—, Surmounted or Stilted. A dome
which consists of a hemisphere standing
upon a solid rectangular figure. [Arch,
Stilted ]
Dominant. A term used to describe
the principal colour or tone in a picture.
Donjon. A strongly fortified building
rated by niches placed one above the
other replaced these columns. T h e space
between the lintel and the arch was called
the tympanum (q.v.). In Gothic build-
ings this tympanum was sometimes deco-
rated with bas-reliefs, often comprising
hundreds of small figures disposed irt
placed either in the interior of a castle friezes one above the other. Sometime»
or at one angle of the outer wall. Within too tympana were occupied by a repre-
129
DOO ART DICTIONARY. DOR
lar opening. Dormers of this kind are Dormer, Square. A dormer with
generally connected to a base of consider- h o r i z o n t a l roof.
Architecturally this
dormer is quite un- ^ ^
a m b i t i o u s . I t is
g e n e r a l l y seen in
private dwellings or country houses.
—, Surbased. A dormer the roof of
which is in the
form of a segment
of a circle. Zinc
able size by ornamental scrolls, as in the dormers of modern
cut. construction gene-
Dormer, Decorated. T h e tympanum rally assume this
of a decorated dormer ΞΞΙ form. They are
is ornamented with sometimes so or
sculptures, and its namented as to break the lines of the
summit is cut into concentric mouldings.
, arcades or termina- —, Window. (Arch.) A vertical win
ted with pinnacles. dow projecting from the slope of the
This form of dormer roof. In the 15th and 16th centuries
is frequently to be dormer windows played a great part in
seen in buildings of
the 15th and 16th
centuries. In the triangular space above
the window coats of arms or bas-reliefs
are frequently carved.
—, Flemish. A dormer constructed
in stone or brick
masonry, surmount-
ed by a pediment à
redans. These re-
dans vary in num-
ber according to the
height of the pedi-
ment.
—, Gabled. A dormer placed at the the decoration of façades. Above the
upper part of a roof and terminated by great tiled roofs of this period gigantic
a gable. dormer windows of carved stone sur-
—, Rampant. A dormer without a rounded with bell-turrets and balus-
pediment set in the trades were built.
middle of the roof. Dormitory. (Arch ) A sleeping apart-
It is sloped, but at ment, especially the sleeping-room in
a different angle to monasteries and other religious houses.
the inclination of the Dorothea, St., virgin and martyr, was
roof. T h e term is born at Caesarea in Cappadocia She was
also applied to a put to death by Fabricius, the Roman
dormer when its sill governor of the province. On her way
and lintel are not to execution she was taunted by a youth
placed horizontally. of the city named Theophilus, who
131
DOR ART DICTIONARY. DRA
mockingly asked her to send him of the peace. A pyx in the form of a dove was
fruits and flowers of the garden to which
she said she was going. At the place of
execution she was met by an angel,
whom she sent with flowers and fruits to
Theophilus. T h e latter was at once
converted by this miracle and soon after
suffered martyrdom himself. St. Doro-
thea's attributes are fruits in a basket
and bunches of roses. She is more often
represented by German and Flemish
artists than by Italian.
Dorsal. A piece of embroidered ma-
terial or a piece of tapestry hung against
the wall behind a seat or to cover the
back of a chair. T h e practice of employ-
often hung above the altar of a church,
and such a one is shown in our cut.
Dovetail. A method of joining em-
ployed both in wood and stone work. A
tenon, shaped like a dove's tail, fits into
ing drapery in this way was frequent in a notch similar to it in shape and size.
the Middle Ages, and in the time of the Dovetails form a weak joint in carpentry,
Renaissance. In some churches the as wood shrinks more across the grain
stalls are ornamented with carving in than along it.
imitation of dorsals. Dowel. (Arch.) A dowel is a slightly
Dosser. A term applied like dorsal to tapering pin of iron fixed in a stone so
hangings of tapestry placed at the east as to fit into a hole made in a stone oppo-
end of a church or against the walls of a site to it. T h e joint thus formed is called
hall. T h e name is derived from the fact a dowel-joint.
that the hangings were placed at the Dragon. A mythical animal with lion's
back of the officiating clergy or behind claws, eagle's wings, and a serpent's tail.
the chairs in a hall. T h e covering at the
back of a seat is also called a dosser.
Double-handed Swords. These huge
weapons were used in the 15th and 16th
centuries in warfare, and were retained
in public ceremonies until a later date
They were of great length, and wielded
with both hands.
Dove. In Christian art the dove is the
symbol of the Holy Ghost, as well as the In Byzantine monuments a dragon is
emblem of love, innocence, purity, and often used to symbolise some public
132
DRA ART DICTIONARY. DRA
calamity. Owing to its fictitious cha- outline of the figure. In the present
racter the dragon is peculiarly adaptable century our universally inartistic dress
to the imagination of the artist, and compels sculptors as a rule to seek their
hence is a favourite subject for works of types of drapery in the fuller robes of
art. Chinese and Japanese artists, are preceding generations.
especially fond of the dragon, and have Drapery, Mock. A method of painting
produced some wonderful works in which walls to represent dra-
the dragon is the central idea. pery hanging in ver-
Dragon's Blood. A resin of a dark tical and regular folds.
blood-red colour, obtained from an These draperies gene-
Indian tree, and used for colouring var- rally appear as though
nishes. they were fixed to the
Dramatic. In painting, this word is wall by round-headed
used to characterise a scene expressing nails. Though they
lively action or keen emotion. are generally model-
Drape. To arrange the drapery on the led with great care,
model or on a lay-figure; and also to they are sometimes painted quite flat,
paint or model drapery. and their folds only indicated by a
Draped. Covered with drapery. simple line.
Drapery. Material or clothing of such Draught-board Moulding. (Arch.) A
—s, fulness as to method of decorating
hang in folds. the surface of walls
In ancient adopted in the Roman-
statues part of esque period. It con-
the body was sists of black and white
always left un- materials alternated, or else of project-
covered, and the ing courses of stone intersecting at right
drapery over the angles so as to form squares, and by
rest m o d e l l e d throwing shadows to break the monotony
from very fine of the surface. T h e term draught-board
and flexible is also used of pavements where tiles of
stuffs hung different colours alternate.
close to the Drawing. A method of representing
b o d y in t i n y objects by lines made with pen or pencil.
folds. In the In geometrical or architectural drawing
12th century artists adopted a uniform rulers and compasses are employed to
practice of making stiff and regular folds aid the hand ; while in freehand draw-
symmetrically placed. T h e draperies of ing only pen or pencil may be used.
the 13th and 14th centuries hang almost —, Architectural. A drawing which
straight down, meeting the feet a t a right portrays building either in elevation or
angle. Later, in the 15th century, a good section by geometrical processes.
deal of mannerism was introduced, but at — Board. A flat board, upon which
the same time the lines of the body are drawing paper is strained T h e paper
followed more truly. T h e fulness of is moistened and secured to the board
drapery was very much increased in the round its under edge by paste or glue.
16th century, and in the 17th and 18th It becomes flat, when dry, and can be
centuries it was much relied upon for removed from the board by cutting in-
producing artistic effects. T h u s the side the paste line.
drapery is frequently torn or flying about, —, Freehand. A drawing done without
and by strong shades accentuates the the aid of ruler or compass.
m
DRA ART DICTIONARY. DRU
priests. Under the head of Druidic re- part of the mediaeval castle called the
mains, which are Celtic in origin, come donjon (q.v.) prisoners were shut u p .
dolmens, cromlechs, &c, which are de- It is of course the same word as donjon,
scribed under their proper headings and originally conveyed no idea of im-
Dryad. A nymph of the woods fre- prisonment.
quently represented in works of ancient
art.
Dryness A quality attributed to
paintings, in which the outlines are hard E.
and formal, the modelling stiff, and the
colour harsh and inharmonious. Eagle. In ancient art the eagle is the
Dry Point. (Engrav.) A sharp steel attribute of Zeus, and it is often figured
needle with which an engraver draws on medals and coins carrying the thun-
directly upon a copper plate. In pro- derbolt of the King of Olympus. It also
portion to the pressure used, the dry symbolises victory, authority, and power,
point sinks more or less deeply into the and in Christian art is the attribute of
metal. It does not, however, cut the
plate, but as it were makes a furrow and
throws up slight projections on each side.
The rough edges thus caused are removed
by the scraper (q.v.) if it is desired to
give a grey tone to the print. If, on the
other hand, the engraver aims at obtain-
ing velvety blacks, the rough edges are
not scraped away. When the plate is
inked they naturally print black. A
limited number of proofs only can be
struck off in this case, as the process
of wiping soon destroys the rough edges
The dry point is used to give to a plate St. John, who indeed is often represented
which has already been bitten a delicacy under the form of an eagle. T h e form
of tone, which it would be impossible to of eagle most frequently employed in
obtain by mere biting. It is thus of heraldry is the eagle displayed. The
value in retouching a plate, and it was wings are shown open, and turn upwards
for this purpose that Rembrandt em- towards the top of the shield. In the
ployed it. In more recent times artists eagle displayed the feet are also set apart,
have executed works of considerable but if the eagle is blazoned an eagle with
size—portraits as a rule—exclusively in
dry point. T h e beauty of these prints
depends to a great extent on the skill of
the printer.
Duck. (Her.) This bird sometimes
appears on a shield as a com-
mon charge, but is usually
shown without feet or beak, wings displayed, this implies that the bird
and in this case should be is perched. Another less common form
properly called a cannet. of eagle is the eagle with wings abaisé ;
Dungeon. (Arch.) T h e term dungeon this differs from the eagle displayed only
has come to mean a place of close con- in having the feathers drooping down-
finement, because in the vault oelow that wards as shown in the right-hand cut.
T35
EAG ART DICTIONARY. EAS
Eaglet. (Her.) A small eagle. In her- century, and were quite common in
aldry it is always re- Elizabeth's reign, the Queen herself
K M + ^Ê^m/Sx presented displayed, wearing pearls in her ears. They were
an< enerau
^ t f iSiPy' ^ g y its beak most popular in the 17th century, for
YS?* " r and claws are of a at that period not only were they
Λ
* different tincture to universally worn by women, but men
the rest of the body. placed either rings or pieces of silk in
Early English. (Arch.) A term applied their ears. At different periods they
to the first period of Gothic architecture, have assumed an infinite variety of
as it was developed in England. It took shapes and have generally been of a
the place of the Norman style towards the precious metal and set with jewels.
end of the 12th century, and flourished Our illustrations represent the one an
for about a century, giving way in its Egyptian, and the other a Syracusan
turn to the Decorated style (q.v.). T h e earring.
following are its main features. Its Ears. Small protuberances on a
windows are generally long and narrow, pitcher or other earthenware vessel,
of that form which is called lancet (q.v.). which serve the purpose of handles.
T h e y sometimes occur singly, sometimes Easel. (Paint.) A stand upon which a
in groups of twos, threes, and fives. picture is placed
Round windows, and also trefoils and while in course of
quatrefoils, are found in Early English e x e c u t i o n . The
buildings, especially over a group of simple easel con
lancets. Arches are generally lancet or sists of two laths
equilateral, while small trefoils and connected together
cinquefoils are common. T h e doorways top and bottom by
are always pointed and deeply recessed. cross-pieces, and
T h e piers generally consist of small thus presents the
circular pillars ranged round a larger appearance of a
one. T h e ornaments characteristic of triangle with a nar
the Early English style are few in num row base. Another
b e r ; foliage is r,arely used, the tooth piece of wood is
ornament (q.v.) being the most common. placed behind, and
T h e mouldings are generally plain this forms a tripod. By means of a
rounds, separated by very deeply cut screw this piece may be extended be
hollows. T h e most complete example hind, and so alter the inclination of the
of the style, which is also called First easel. A small tablet which can be
Pointed, is Salisbury Cathedral. moved up and down at will is attached
Earrings. Ornaments have been worn to the two uprights, and it is this which
in the ear from supports the picture. This form of
the very earliest easel has been in use for centuries, as
times. A m o n g our cut of an artist at work, taken from
Eastern nations an illuminated Romance of the Rose of
VII men as well as the 15th century, will show. Nowadays,
women t h u s another kind of easel is generally used.
adorned themselves. In Greece and This consists of a vertical construction
Rome, however, the fashion was only resting solidly on two cross-pieces at
adopted by women. Earrings were right angles to a third piece. T h e cross-
worn by the Saxons, but their use pieces are furnished with casters, and
seems to have died out about the 10th the easel can thus be easily shifted from
century. They reappear in the 14th one corner of the studio to the other.
136
E AS ART DIC NONARY. ECH
On this framework a tablet on which the solid and massive, as they have to sup-
picture rests moves vertically by means port heavy weights.
of an endless screw. This tablet can be Easel-picture. (Paint.) A picture of
raised or lowered at will by a simple small dimensions and generally so mi-
nutely and delicately executed, that it
may be placed close to the eye of the
spectator.
Easing. (Arch ) When an arch is built
upon a centre (q.v.) it is always neces-
sary to provide for easing the centre, i e.
for lowering it, so that the support may
gradually be withdrawn from the arch.
This easing is performed by the partial
removal of two wedges placed between
the strut and rib. T h e operation of easing
is described more fully under Centre.
Eau-forte. This term, borrowed from
the French, is frequently used as a syno-
nym for etching (q.v.) or print produced
by a chemical process. A metal plate is
covered with wax, and the drawing is then
crank. The name sketching - easel is made on the wax with a needle. T h e
given to the light easels, which fold up whole plate is then submerged in a solu-
so as to occupy as little room as possible, tion of nitric acid and water, which eats
and can easily be carried about by the into the plate wherever the wax has been
artist. Sculptors make use of an easel removed. With the plate thus obtained
prints can be struck in the ordinary way.
Eaves. T h e lower edges of the slopes
of a roof, which rest upon the walls or
project over them.
Eaves-course. (Arch.) A moulding
running round a building and carrying
the eaves.
Ebony. A wood found in the forests of
Asia and in the islands of Ceylon and
Madagascar. T h e sap-wood, which is of
purest white, forms a striking contrast to
the heart, which is quite black. It is this
latter part of the tree which is most used,
the black, hard, heavy wood forming an
excellent material for artistic furniture,
for picture frames, and for door panels.
T h e word ebony is also frequently used
as an adjective to denote
the deep black character-
istic of the wood.
in modelling bas-reliefs. In form they Echinus. (Arch.) A pro-
resemble the simpler form of painter's jecting moulding placed
easel which we have described. They under the abacus of the
differ from this, however, in being more Doric capital. It is delicately convex
10 137
ECL ART DICTIONARY. EGY
Among them were the pyramids, which Electrum An alloy of gold and silver
date from the 4th dynasty. Egyptian which was used instead of gold by the
temples have some resemblance in style Greeks and Romans in making coins.
to the Doric temples of Greece. T h e In colour it resembled amber, to which
mouldings which ornament them' are substance the term electrum was origin-
very simple, and more often painted than ally applied.
carved. Elephant Paper. A term applied to
Egyptian Brown. (Paint.) A rich drawing paper of a large size, its dimen-
brown pigment composed of white pitch, sions being twenty-eight inches by twenty-
myrrh, and animal matter. In spite of two. T h e dimensions of double elephant
its brilliance and transparency it can- paper for printing purposes are forty by
not be recommended, as it is not per- twenty-seven. Drawing boards of similar
manent. dimensions are also termed elephant and
Elbow. (Arch.) A name given to the double elephant.
arms of stalls in Elgin Marbles. At the beginning of
churches. Per- the present century Lord Elgin carried
sons seated on off from Athens a very important collec-
the misericordiae tion of works of sculpture. It included
could rest their nearly all the monumental decorations
arms ' upon the of the Parthenon which had escaped
elbows. T h e sur- destruction. In addition to the splendid
face of the elbow fragments of the pedimental figures and
was sometimes many metopes, Lord Elgin brought to
quite flat, some- England more than two hundred feet of
times broken by the beautiful frieze which ran round the
a border. It was cella of the temple of Athene. T o this
supported either collection the name Elgin Marbles was
by a colonnette or clusters of foliage. given, and their value, as giving us an
In many cases it consisted of a group of idea of the magnificent achievement of
figurines. the great sculptors in the golden age of
Electrotype. A method of obtaining Greek art, cannot be over-estimated.
a reproduction of a bas-relief or en- T h e question whether Lord Elgin was
graved plate by placing a mould of it in justified in spoiling Athens cannot here
a bath, in which, by means of electricity, be discussed.
a thick coating of metal is deposited on Elizabethan. T h e style of architec-
the mould. T h e mould is then removed ture which prevailed in England in the
and there remains a reproduction in reign of Elizabeth and for some years
metal of the bas-relief or plate. This after her death has been called Eliza-
process is of great service in art, but bethan. It was Gothic in some of its
perhaps its widest application is in the main features, but the influence of t«ie
art of engraving. Wood-cuts are seldom classical Renaissance is clearly discern-
printed from now, electrotypes of them ible in it. It may therefore be said to
being generally employed. T h e result be a sort of transition between the two
of this is that a far larger number of im- great styles. T h e finest specimens of
pressions may be obtained than for- Elizabethan architecture are great coun-
merly, and the wood-block may be try mansions, such as Knowle, Hatfield,
indefinitely repeated. At the same time and Penshurst.
it cannot be denied that the practice of Elizabethan Ware. A name incor-
electrotyping has detracted very much rectly given to a kind of earthenware,
from the beauty of wood-engraving. of the decoration which was said to
139
ELL ART DICTIONARY. EMB
have been copied from the chasings upon beside him. T h e r e are numerous
the silver plate of Queen Elizabeth's statues and pictures of him in existence,
time. one being the work of Botticelli.
Ellipse. A plane curve traced out by a Elzevir. T h e Elzevir family, who have
point which moves so given their name to a particular class of
that the sum of its dis- books, were printers and booksellers in
tances from two fixed Liège from 1540 to 1712. T h e books
p o i n t s is c o n s t a n t . known as Elzevirs are small volumes
Each of these fixed of great beauty and rarity.
points is called a focus Embattled. (Her.) This term, bor-
of the ellipse. An ellipse may also be rowed from the battlements
defined as the section of a right circular of a castle, is applied to one
cone made by a plane inclined to the of the dividing lines of the
axis of the cone at an angle greater than shield. T h u s the accom-
the cone's semi-vertical angle. panying cuts represent re-
Ellipsograph. An instrument for trac- spectively a chief embattled
ing ellipses. It consists of two grooved and a fess embattled When
rods fixed at right angles and a movable the projections are shown on both sides
rod sliding between them so that one end of the ordinary so that a projection on
of it glides in each groove. A pencil is
attached to the movable rod, and as
this rod passes from one extreme position
to the other extreme position, the pencil
traces out the quadrant of an ellipse.
If the pencil is attached in the middle of
the movable rod, the curve traced out
will be the quadrant of a circle. one side is opposite a space on the other,
Ellipsoid. A solid figure such that its the ordinary is said to be embattled
section through each principal plane is counter-embattled.
an ellipse. Embellishment. T h e decoration or
Eloy, St. T h e son of obscure parents, ornament applied to anything ; also the
was born at Charetas. H e was em- act of ornamenting or decorating.
ployed by Clotaire II. first as gqldsmith Emblem. A symbolic figure or attri-
and afterwards in various positions of bute serving to characterise allegorical
trust. H e was consecrated Bishop of figures. It differs from a symbol or
Noyon in the reign of Clovis II. H e attribute in that it conceals a moral or
was famous as much for the holiness of historical allegory. Emblems were very
his life as for his skill as a worker in common throughout the Middle Ages,
metal. Many are the legends that have and were frequently introduced into
gathered round his name. On one church decoration. Many books of
occasion he was shoeing a horse which emblems were printed during the 16th
was possessed by a devil. St. Eloy cut his century, in which types of virtues and
leg off, put on the shoe, and then replaced vices were taken from the animal king-
the leg by making the sign of a cross. dom. T h e most celebrated were those
W h e n plagued by Satan himself, the by Alciati, Paradin, and Sambuco.
saint is said to have seized the evil one Embossing. T h e art of working
by the nose. These two incidents of his patterns in relief on metal by means of
life are generally treated in pictures of a punch. It is an expensive process, and
St. Eloy, who is usually represented is only used at the present day in the
with an anvil, on which a horse's leg lies production of delicate and costly objects.
140
EMB ART DICTIONARY. ΕΝΑ
There are in existence mechanical pro puted to have been the work of Queen
cesses for embossing metal, wood, and Matilda, wife of William the Conqueror.
even paper, but they scarcely belong to T h e value of the embroideries in exist
the domain of art. ence in England at the Reformation
Embowed. (Her.) When a charge on can scarcely be estimated. At that
a shield is bent or curved most disastrous period in the history of
it is blazoned embowed. art, hundreds of pieces were wantonly
The term is now usually destroyed. Embroidery is but little
applied to living charges cultivated now, and belongs rather to
such as a fish, especially a industry than to art. T h e speedier
dolphin; or to the human methods of machinery have driven the
arm, which is frequently represented in delicate handwork of former times out
this position. It may however be em of the field. Fragments of ancient em
ployed for any other charge as a/ess or broidery, however, are still highly prized
bend. and regarded as among the most curious
Embrasure. An aperture in a wall. relics of the art of the past.
In modern times the apertures required Emerald. A precious stone, semi-
in walls are chiefly those for doors and transparent, and of a greenish tint.
windows. But the term embrasure is Emerald Green. (Paint.) A vivid green
better known in connection with the pigment prepared from arseniate of cop
apertures in the walls of a mediaeval per. In spite of its permanence, it
castle, from whence projectiles were should be used with caution as it con
thrown at an attacking enemy. These tains arsenic.
embrasures had splayed sides widening Emery. A fine powder of granular
outwards so as to give a wide range of adamantine spar. It is used for cutting
fire to a musketeer standing on the inner down and polishing glass work, and for
side of the narrow slit forming the polishing fine-grained stone. Sheets of
embrasure. paper covered with emery powder, and
Embroidery. A decoration in needle known as emery paper, are used for
work, executed by hand on a stuff already giving a smooth surface to woodwork,
woven. T h e work is sometimes in relief, and also used by draughtsmen and
sometimes open. Embroideries are engravers for sharpening their pencils
known to us of silk, gold, and precious and steel points.
stones, of every kind of thread in fact, Emmanche. (Her.) An heraldic term
and of every colour. T h e art of embroi applied to the angular divi
dery has been practised in all ages and sion of the shield, whether
by all nations. Hebrew and Egyptian placed on the dexter or
women were well skilled in it. Aaron's sinister side. It is a figure ,
coat and girdle, the latter of "fine which is very rarely em
turned linen, and blue, and purple, and ployed.
scarlet, of needlework," is mentioned in Enamel. A semi-opaque vitrified ma
Exodus. T h e Greeks especially excelled terial, which is melted and applied to
in embroidery. Homer mentions both various metals, such as gold, silver, and
Helen and Penelope as engaged in copper. It is capable of receiving dif
needlework. T h e web of the latter is ferent colours by the introduction of
universally famous. Coming to rather a various oxides. T h u s oxide of tin
later period we read of the vestments of colours enamel white, oxide of cobalt
the priesthood of the Anglo-Saxon blue, and copper green. T h e term
Church being richly embroidered. T h e enamel is also applied to the opaque
so-called Β ay eux Tapestry (q.v.) is re glaze on pottery.
141
ΕΝΑ ART DIC: NONARY. ΕΝΑ
Enamel, Basse-taille. A process of and with pink for flesh tints. Hair is
enamelling on precious metals, which represented by means of incisions made
consists in chasing the metal plate and with the graving tool and filled with red
then covering it with powdered enamel enamel. Such is the character of Li
of slightly different shades. moges enamels before the year 1151.
—, Brown. (Pot.) Brown enamel is At the end of the n t h and in the 12th
composed of minium and manganese century, flesh is tinted and the metal is
mixed up with brick-dust. gilt. At the end of the 12th century
—, Champlevé. Enamel deposited the figures are partly enamelled and
in the cavities of a metal plate, hol- partly left in relief and flesh is tinted
lowed out to receive it. This method white. In the next century the outline
of enamelling succeeded cloisonne of the figures is left in relief and the
enamelling in the 13th century, as it details are sunk. Both in this cen
required less labour and skill. In tury and in the 14th century enamels
German enamels of this class the are coloured uniformly, the tint being
colours green and yellow predominate, either a greenish blue, or a blue and yel
while lapis lazuli is the prevailing tint low, or an azure. These are the prevail
in the enamels of Limoges. [Cham- ing characteristics of Limoges enamels,
plevé.] but up to the 15th century it is difficult
—, Cloisonné. [Cloisonné.] to assign a precise date to a particular
—, Goldsmith's. Enamel deposited specimen because workmen were con
on a plate incised with a cutting tool, stantly influenced by the desire to
generally a graver. imitate older work.
—, Painter's. Paintings on plaques of —, Niello. Sheets of metal engraved
metal, usually of small dimensions. with sunk lines, which are filled with
—, Relief. An enamel resulting from black enamel.
fusion, the irregular surface of which —, Painted, belong to the begin
has either been left unpolished or so ning of the 16th century. A coat of
worn by friction as to be quite rough. dark enamel is first laid on the metal,
—, White. (Pot.) White enamel or then a coat of white enamel through
white glazing is composed of the oxides which the black undercoat appears as a
of tin and lead mixed with sand con- grey. T h e design is traced on this white
taining quartz, and with sea salt and coating, masses being indicated by
soda. Painters work on a ground of hatchings. All the white enamel beyond
white enamel, which they leave un- the outline of the figures is removed,
touched to obtain their lights. leaving the black beneath. T h e vessel
Enamels, French. These enamels, con- is then baked and the design becomes
sisting mainly of brooches and buckles, fixed.
date from the 4th to the 8th centuries. —, Translucent, are small enamels
A few specimens are to be found in the on gold or silver. T h e tabernacle
Louvre. T h e r e are also some enamelled of Orvieto is said to be the finest ex
jewels of the 9th and 10th centuries. ample of a translucent enamel. At
—, Fusible. Used as a ground-work Cologne is preserved a crosier of the
in the manufacture of porcelain. It 14th century ornamented with trans
contains a large proportion of oxide of lucent enamels T h e same ornamenta
lead. tion was applied by Benvenuto Cellini to
—, Limoges. T h e special character- his gold work Only six colours are
istic of early Limoges enamels is that found in translucent enamels, blue,
they have a dominant tone of blue green, grey, tan-colour, purple, and black.
lapis lazuli, accompanied with sea-green White and yellow are excluded because
142
ΕΝΑ ART DIC NONARY. ENC
they can only be obtained by means of print cut in relief. T h e hollows thus
stannic acid, which is opaque. produced, which were not very deep,
Enamellers. T h e artists to whom we were filled up with a white clay. T h e
owe the most celebrated enamels in the whole was then glazed and fired. T h e
world are Elbertus of Cologne and Jean encaustic tiles which are preserved
Bartholus in the 13th century ; Ugolino
da Siena, Franucci and Andrea d'Ardilo
in the 14th century ; Pierre Verrier in
the 15th ; Jean and Hardan Penicaud,
Maso Finiguerra, and Joseph Limosin in
the 17th; Dinglinger, Rode, and Bouillet
in the 18th ; and Augustin, de Courcy
and Claudius Popelin in the 19th.
Enameller's Needle. Painters in en
amel spread their tint by means of pointed
needles, and also use a flat needle shaped
like a spatula to deposit the masses of
colour on the place where they want it.
T h e pieces of boxwood with which they present an extraordinary variety of de
efface irregularities in their work are signs. Some represent foliage, geomet
also called needles. rical patterns, heraldic devices, and even
Encarpa. (Arch.) A festoon of fruit or h u m a n heads or figures. Many are
found bearing quaint inscriptions in
English or Latin. Of the two cuts we
Hi
ENC ART DICTIONARY. END
a city or fortified piare is called the which is seen in front. It served the
enceinte. purpose of an apron and was worn by
Enclavé. (Her.) This term is used slaves and others to keep the tunic clean.
when one part of a shield It also formed part of the costume of the
is as it were keyed into comic actor. Our cut, which represents
another by a square project- a girl wearing an encomboma, playing
ing piece. This method of the pipes, is from a bas-relief.
dividing a shield is found E n d - o r n a m e n t . (Arch.) An ornament
mainly in German coats of
arms.
Encoignure. A small table, triangular
in shape, which is made to fit in to the
sometimes plain,
sometimes richly
decorated, which
terminates a pin-
nacle, pediment,
or spire. End-
ornaments may
be spherical or pointed, and often con-
sist of bunches of foliage.
Endromis. (Cost.) A heavy, warm kind
angle formed by two walls in the corner
of a room.
Encomboma. (Cost.) A garment fas-
145
ENG ART DIC TIONARY. ENT
exactly the broad strokes of the crayon Enrockment. (Arch.) A base formed
or chalk. T h e earliest specimens of this of enormous rocks or massive blocks of
kind of engraving were produced by stone immersed in water, and serving as
François and Demarteau in France. the foundation of a fountain or as the
T h e latter's reproductions of the draw- piles of a bridge.
ings of Boucher and his school are justly Ensemble. A term applied to the
celebrated. whole group of figures or all the objects
Engraving en taille d'épargne. A in a landscape, which unite to make up
term applied to that process of engraving, a picture or artistic composition.
in which the part intended to be repro- Ensign. A military standard, consist-
duced in the print is left in relief, while ing of an unright staff surmounted by
the rest is cut away. T o this class of a device, peculiar to the nation or mon-
engraving wood-cutting belongs. arch to whom the ensign belongs. T h e
— en taille douce. In this method standard of Rome, for instance, generally
of engraving the lines which are to be
reproduced in the print are hollowed
out or depressed beneath the surface of
the plate. T h a t is, it is the reverse of
engraving en taille d'épargne. Line-
engraving and etching are. among the
examples of engraving en taille douce.
— in Camaieu. A method of engraving
practised in the 16th century, the object
of which was to imitate sepia drawings.
As it was necessary to reproduce several
distinct tones of brown as well as white,
several wood blocks were used and ap-
plied to the paper one after another, a
separate block being used to print each
tone. Engravings in camaieu are some-
times printed all in one colour, and the
differences of tone are obtained by hatch-
ings.
— in the Dot Manner. One of the
earliest methods of engraving on metal.
Instead of drawing lines on the metal or
scraping it away, the engraver simply bore an eagle upon it, as will be seen in
covered those parts of his plate which two of our cuts. Another cut represents
he wished to print light with small dots a Roman standard subsequent to the
or holes. Two engravings in this manner time of Constantine, and instead of the
dating from the year 1406 have been traditional eagle an emblem of Christ is
recently discovered. attached to it.
Enneapylae. (Arch.) A fortified enclo- Entablature.
sure surrounding the Acropolis at Athens. \ ^ j ^ r (Arch.) A horizon -
It was so called because it had nine gates.
Enrich. T o enrich is to decorate, to
adorn with various and sumptuous or- • consists in the
naments. T h u s we say that a book is %ίΕ^ΛΓ ancient orders of
enriched with cuts when it is illustrated an architrave, a
with vignettes. I frieze, and a cornice. It is supported by
146
ENT ART DICTIONARY. EPI
columns, and its height varies from four between two vaults which spring from
to five times the diameter of the shaft of the same point.
the column of the order to which it Çntre-deux. A French term applied
belongs. When several ancient orders to a piece of furniture, often richly deco-
are placed one above the other, the
entablature of the intermediate orders
has no cornice. This is reserved for the
top story of the building. In modern
buildings columns and pilasters are
generally surmounted by an entablature,
the height of which varies according to
the space at the disposal of the architect,
due regard being kept of course to har-
mony of proportion. Sometimes too a
false entablature is placed at the sum-
mit of a façade, although there are no
pilasters to justify its existence. Entab-
latures surmounted by projecting cor- rated, in the shape of a console or small
nices are sometimes mere opportunities cupboard, which stands against a panel
for decoration, and are taken advantage between two doors or other openings.
of to hide the slope of a roof, gutters, &c. Entre-sol. (Arch.) An intermediate
T h e mouldings which cap pieces of fur- story in a house, in which the rooms
niture are' also termed entablatures. are of a low pitch. It is generally situ-
Entasis. (Arch.) T h e swelling in the ated between the ground floor and the
t
, | t middle of a shaft of a first floor, but sometimes it is found
column. It is one of the between some other two floors.
c h a r a c t e r i s t i c s of t h e Epaulets. Shoulder-pieces of metal,
Doric order, in which the which were introduced about the 14th
swelling of the columns century to serve as a protection to the
gives an effect of light- upper part of the arm. With this the
ness to a structure which epaulet worn by officers has nothing to
otherwise might appear do. T h e latter, which is a kind of
1
ι too heavy. shoulder knot, was first worn in the
Enté. (Her.) This is a French term latter half of the 18th century by men of
applied to parts of the shield which are fashion.
fitted into one another by means of Epaulment. (Arch.) A wall built to
curved indentations which may take uphold earth.
Epi. (Arch.) An ornament of glazed
earth or lead surmounting pointed roofs
Epis of earthenware were employed from
the 13th to the 14th century, at which
time they were replaced by épis of
enamelled faïence. T h e finest speci-
mens of this class consist of a small
square pedestal, sometimes decorated
various forms. T h e first cut here given with human masks. Above this pedestal
would be described as enté en rond, or is placed a fir cone, a basket of flowers,
indented round ; the second enté en pointe; foliage of varied hue, or a bird poised on
and the third enté-onde. a small globe. Leaden épis are either
Entre-coupe. (Arch.) T h e vacant space cast or beaten with a hammer. To-
H7
EPI ART DICTIONARY. ERE
wards the end of the 15th century excel stone, or metal upon which a funeral in
lent results were scription is engraved. T h e term is also
obtained by com applied to the inscription itself.
bining these two Équerre. (Her.) French heralds use
kinds of epis. T h e this term to describe a
Renaissance pro small square piece cut out
duced some admi of the corner of a shield
rable specimens, by means of an elbow of
consisting of capi a different tincture. This
tals decorated with device is common in Ger-
foliage and sur man coats of arms. T h e term escarre
mounted by vases is also sometimes used.
of graceful form. Equestrian. A term applied to statues
In the 17th century which represent a personage mounted
they assumed the upon a horse. T h e r e were many cele-
f o r m of c o l o n - brated equestrian statues executed by
' " Λ * nettes, vases, or Greek and Roman sculptors. Lysippus,
chimaeras. Some are made to-day in for instance, was the author of equestrian
lead and after the best designs, but for statues of Alexander and his generals.
the sake of economy zinc is too often In modern times too the equestrian
used instead of lead, and this material statue has been a favourite form of
robs them of all chance of durability. portraiture.
Epichysis. (Pot.) A jug from which Equilibrium. A term applied to a
wine was poured into a figure in its natural and stable position
cup. It was a form of the and also to the arrangement of a compo-
Greek oenochoe (q.v.), sition, in which the groups, masses, and
and had a lip, through blacks and whites are well distributed
which the liquid ran, and and balanced.
a light delicately-shaped Equipollé. (Her.) A French heraldic
handle. In our cut an term used to describe a
epichysis is represented shield divided into nine
with a drinking-cup small squares so as to form
placed over its mouth. a chequer board. T h e usual
Epigraph. An inscription placed upon arrangement is to have the
a building to preserve the memory of its four corner squares and the
construction. centre one of the same tinc-
Episode. A scene or group of figures ture, and the remaining four of some
represented in some part of a picture, other tincture.
bearing little relation to the principal Erased. (Her.) Used to describe a
subject T h e term is also applied to head or limb torn off roughly
subjects which represent one particular so as to leave a ragged edge.
incident in a long chain of events. T h u s It is opposed to couped, which
we speak of a picture representing an means cut off clean.
" Episode in the Crimean War." Erechtheon. (Arch.) One of the build-
Epistyle. (Arch.) An architrave or ings at Athens due to the genius of
horizontal beam placed on the capitals of Pheidias and his contemporaries. It
columns, so as to hold them together and stood on the north side of the Acropolis,
to act as a support to the upper part of a and was dedicated tp Erechtheus.
building. Above all it was celebrated for the
Epitaph. (Arch.) A tablet of marble, caryatides (q.v.) which supported the
148
ERM ART DICTIONARY. ESS
entablature in that portion of it called of an arch or rose window and the two
the Pandroseum. sides of the rect-
Ermine, (i) (Her.) This is angle, in which the
one of the heraldic furs. It curve, be it circle or
consists of a white ground ellipse, is inscribed.
decorated with black spots, Esconisons a r e |\
I JL Ï I or ώ technical language a s o m e t i m e s deco-
VlX^A^X-y field argent, powdered with rated with foliage
* spots sable. and other orna-
Ermine. (2) (Cost.) T h e winter skin of ments, at other times the triangular
a species of pole cat, which is white with spaces are filled
black spots. It was valued very highly in with decorative
the Middle Ages, and in the 13th century paintings repre-
it was enacted that only royal personages senting allegori-
and those of the nobility who had more cal figures. In
than ;£i,ooo a year should wear it. buildings of the
Ermines. (Her.) This fur, called in Gothic style we
French contre-hermine, is the opposite find pierced es-
of Ermine, the field being black and the conisons in the
spots white. angles of round windows.
Erminois. (Her.) In this fur the field Escutcheon. A cartouche or tablet
is gold and the spots sable. Its reverse upon which
is peau (q.v.). coats of arms
Eros. [Cupid.] are emblazoned
Escallop. (Her.) A shell which is often or inscriptions
found in coats of arms and is and ornaments
a very honourable bearing. set forth. The
It was assumed by the pil name is also
grims on their return from the given to metal
Holy Land, and the two kinds of escallops plates which as-
shown on shields are dignified by the sume this form, such as those used for
names of saints. T h e one with ears is key-holes upon doors.
called the escallop of St. James, and the Espagnolette. (Arch.) A French term
one without ears the escallop of St. denoting an arrange-
Michael. T h e escallop was particularly ment for closing a
the emblem of St. James, and represen window, which con-
tations of it are frequently to be met sists of a rod of iron
with in churches dedicated to this saint. with a hook at each
Escarpment. An abrupt, precipitous end. It is moved by a
slope. [Scarp.] handle from the in-
E s c l a t t é . (Her.) This side of a room. When
term is employed when the the window is closed
dividing line in a shield, in- these hooks are held
stead of being straight, is fast in staples, and
rough and jagged as if it when, by turning the
had been violently broken. handle, the window is opened, the hooks
E s c o n i s o n . (Arch.) A triangular are released from the staples.
space formed by two straight lines and Essorant. (Her.) A French term ap-
curve, often found in a window j a m b plied to a bird standing on the ground
or arch. It is enclosed by the curve and holding its wings up so as to dry
149
EST ART DICTIONARY. ΕΤΗ
Hence artistic works which reproduce endured many tribulations, losing for a
the types of foreign races are termed while his wife and children, and finally
ethnographic. Scenes of the East and being burnt alive in a brazen bull, but
Algeria, such as those of Decamps and he remained steadfast in the faith. In
Gerôme, may be called ethnographic pictures he appears in the costume of a
paintings. Roman soldier and holds a palm branch ;
Etoile. (Her.) A synonym for star. near him stands the white stag to which
T h e heraldic star consists of five rays he owed his conversion.
issuing from a centre. Eustyle. (Arch.) A eustyle temple is
Etruscan Vases. The first painted one in which the intercolumniation or
Greek vases which were distance between the columns surround-
brought to light in mo- ing it is equal to two and a quarter
dern times were dis- diameters of the column measured near
covered in E t r u r i a the base.
about the end of the Evangelists, The Four. T h e earliest
17th c e n t u r y . The representations of the four evangelists
learned men of that are purely symbolic. They are figured
time at once concluded as four scrolls or books in the angles of
that they were the work of Etruscan a Greek cross, then as four rivers flowing
potters, and they were long known as from a rock, upon which stands a lamb,
Etruscan vases. This appellation was the symbol of Christ. They then appear
proved to be erroneous by Winckel- as the four beasts mentioned in Ezekiel
mann and others, and has now been
discarded. T h e majority of the so-
called Etruscan vases were indeed of
Greek workmanship, and were imported
into Italy in very early times. At the
same time many vases were dug up in
Italy which had no doubt been made in
Etruria in imitation of the productions of
the Greek potters.
Etui. A case of gold or silver, richly
chased, which was worn by ladies at
their girdles in the 16th and 17th cen-
turies. It was the forerunner of the
modern chatelaine.
Eurythmia. In architecture eurythmia
refers to beauty of proportion, in paint-
ing and sculpture to grace of composition
and to the harmonious balancing of the
lines in a figure or of the groups in a
large composition. as supporting the throne—a cherub, a
Eustace, St. A legendary saint, fre- lion, a bull, and eagle. They were next
quently represented in Christian art. represented as monsters, half men and
He was a Roman soldier, and before he half beasts, holding books or scrolls.
assumed the n a m e of Eustace, which he St. Matthew alone had a h u m a n face,
did on his conversion, he was called the others had the head and feet of a
Placidus. Like St. H u b e r t (q.v.) he lion, bull, and eagle respectively. For
became a Christian on seeing a white their individual attributes, see under
stag with a cross between its horns. He their separate headings.
!5i
EWE ART DIC: NONARY. EXE
Ewer. (Pot.) A vase of graceful shape, art, including skill of hand and profound
with a handle and gullet knowledge of technique. A badly com-
and mounted on a foot. posed picture may show immense skill
T h e purpose to which the in execution. T h e qualities of execution
ewer was originally put was differ absolutely from those of composi-
to contain water at table. tion, and many artists who have never
Benvenuto Cellini produced displayed any fertility in the choice of
ewers which were master- subjects or knowledge of composition are
pieces of art, and one, in sometimes in the very front rank as far
which is represented the as execution is concerned. Mr. Ruskin's
combat between the Cen- definition of execution is " the right
taurs and Lapiths, is par- mechanical use of the means of art to
ticularly celebrated. In modern times produce a given end."
ewers have been made of gold and silver E x e d r a . (Arch.) A semicircular bench,
and even more precious materials, while resembling in form those on which the
gems have been lavishly employed in philosophers and rhetoricians sat in
their decoration. T h e ewer is above all ancient times. In Christian basilicae
a decorative vase, and lends itself ad- an exedra is placed on each side of the
mirably to richness both of material
and design.
E x c a v a t i o n . Excavation denotes the
hollowing out of the ground to make
space for foundations, which precedes
the construction of every building. T h e
term is also applied to the digging up
and bringing to light of long-hidden and
forgotten works of art. It is to the work episcopal throne in the centre of the
of industrious excavators that almost all apse and raised some steps above the
our knowledge of the monuments of general level of the floor. Some authors
ancient art is due. Of the great results term these exedrae subsellyx. It was
of which scientific excavation is capable, upon them that the priests took their
the best evidence is afforded by the im- seats at official meetings.
portant discoveries made in the plain of Exercise. A model given to a pupil
Olympia by the German Government. to copy to familiarise him with certain
This enterprise was undertaken with a difficulties. A composition on a given
full knowledge of what might be found subject set for the purpose of accus-
there, and the expectations of the savants toming students to compose pictures and
who carried it out were accurately ful- arrange groups.
filled. Exergue. T h e space on the field of
Excudit. We often find upon prints a coin or medal
an inscription such as the following: outside the m a m
Marc Antonio sculfisit, Antonio Sala- design, upon
manca excudit. This means that the im- w h i c h an in-
pression before us was printed from a scription, de-
plate engraved by Marc Antonio and vice, or date is
published by Antonio Salamanca. T h e inscribed. T h e
part played by the publisher was of some term is also ap-
importance, for he frequently retouched plied to the in-
the plates which he issued. scription itself.
Execution. T h e technical part of an Some medals have a different exergue
152
EXH ART DIC TIONARY. EXV
on each face. Sometimes there are two sion of their real or supposed knowledge.
exergues on the same face of a medal T h e catalogues of public auction sales
or coin, arranged symmetrically with afford us proofs of the frequent ignorance
regard to its diameter. of experts even of modern pictures. In
Exhibition. A temporary collection of certain legal cases, experts generally
works of art got together sometimes for chosen from the body of artists of repute,
the purpose of sale, sometimes for the are called upon to give evidence.
illustration of the work of some parti- Expression. A figure is said to have
cular artist or period. The first public expression when in its interpretation
exhibition of English art was held in the character of the subject is well
April, 1760, since which year an exhibition represented. It is in the treatment of
has been held annually. From the time the face and especially of the eye that
of the establishment of the Royal Aca- artists display their power of setting
demy in 1768 this exhibition has been forth expression.
under the auspices of that body. During Exterior. T h e outside of a building,
the last ten years many exhibitions have as opposed to the interior or inside.
been established in rivalry with those Extrados. (Arch) T h e upper convex
held by the Academy. surface of a vault or arch ; the curve
Exomis. (Cost.) A short sleeveless
tunic, which left the right arm and
shoulder quite free and unimpeded. It
these rude paintings with art is, how- looked for in the face, and the impor-
ever, very slight. tance attached to the proper represen-
Eye. (Arch.) A term used to denote tation of the face in portrait-painting
the centre of an Ionic capital, as well as may be gauged by the fact that in the
the circular opening in the summit of a i 6 t h a n d 17th centuries portrait-painters
dome and the small circle in the centre were called face-painters. In architec-
of a rose window. F r o m within the eye ture a flat moulding or a broad smooth
of a volute, following the sides and surface is termed a face. T h u s we speak
diagonals of a square inscribed within a of the face of an architrave.
Face-painter. An old term which
was applied in the 15th and 16th cen-
turies to a portrait painter, the accurate
representation of the features being
regarded then as the end of and aim of
portrait-painting.
Facet. A small smooth surface, espe-
cially that surface between the angles of
diamonds or crystals which is sometimes
circle we can determine with a compass natural, sometimes obtained artificially
the contour of a volute, as is shown in our by cutting.
second cut. In symbolic art the eye has Facing. (Arch.) When a rough wall of
always been the emblem of watchfulness brick or stone is covered with a thin
and so of the divine power. Among the coat of a better material, such as marble
Egyptians Osiris was typified by an eye, or plaster, this outer coating is called a
and in early Christian art the eye stands facing.
for the Providence which sees all things. Facsimile. An exact reproduction,
Eye-shade. A piece of green card obtained sometimes by artistic means,
which engravers wear on their foreheads. but more often by purely mechanical
It projects like a visor, shields the eyes processes, such as photography, helio-
from the rays of light, and so renders the gravure, &c. In the last century fac-
sight more distinct. similes of the drawings of the old masters
were produced by means of line engrav-
ing. In these facsimiles not only the
touch of the artist but even the tone of
old paper was reproduced. To-day the
F. processes of engraving which depend
Façade. (Arch.) T h e outside surface upon photography have rendered easy
of a building ; especially the principal the production of extraordinarily accu-
front, which is the most exposed to view rate facsimiles. T h e term is also ap
and is more richly decorated than the plied to reproductions of hand-writing,
rest of the edifice. T h e chief entrance signatures, marks, and monograms, with
to a building is generally to be found in which books are sometimes illustrated.
the façade. Faded. A term applied to colours
—, Composite. A façade ornamented which have lost their freshness or
with entablatures of different orders. brilliance. Some shades of colours
T h e west front of St. Paul's is an exam- when faded produce an excellent effect.
ple of a composite façade. Faenza Ware. A name given to
Face. (Paint.) T h e front part of the majolica from, the little town near
head from the forehead to the chin. Ex- Bologna where majolica was once made.
pression and individuality are to be Faience. (Pot.) Just as faenza became
154
FAI ART DICTIONARY. FAN
in Italy the general name for majolica, nard, from about the year 1525 to the
so faïence, said by some to be derived end of the reign of Henri II.
from faenza, became in France a gene- Failli (Her.) This term is used by
ral name for a kind of pottery com- French heralds to denote a
posed of glazed or enamelled earth. T h e failure or break in an or-
secret of making it was known in very dinary. It is specially ap-
early times to the Chinese, Arabians, plied to a chevron divided
Persians, and Assyrians. There are some into several pieces as
very fine specimens of Moorish faïence shown in the accompanyr
dating from the 12th and 13th centuries ing cut.
at the Alhambra at Grenada. But many Falchion. A sword of uncertain form
pieces are known of far greater antiquity used in the Middle Ages. In all
than this. In the museum at Sèvres, for probability it resembled the German
instance, there are examples dating sabre, and was used as being lighter than
from the 9th century. In a convent the broadsword.
at Leipzig, built in 1207, were found Falcon. (Her ) T h e bird of prey used
some enamelled bricks, while the tomb by sovereigns and nobles for
of one of the Dukes of Silesia, who died hawking is a irequent charge
in 1290, consists entirely of enamelled in heraldry. It is sometimes
terra-cotta. T h e potteries of Nurem- represented on a perch. In
berg are celebrated. In the 15th century some coats of arms the falcon
German potters imported faïence to wears a mantle embroidered
Delft, and in 1650 there were in existence with fleur-de-lis attached to its neck by
no less than fifty factories of faïence in a ribbon. In symbolic art the falcon is
England, France, Sweden, and Denmark. the emblem of royalty or nobility, for
Their prosperity, however^ declined in the sport of hawking was restricted by
the 18th century, but a revival of the law to kings and nobles.
art has taken place in our own days. False. (Arch.) A term applied to pre-
—, Common. A faience generally po- tended mouldings or openings, produced
rous, of a red or yellow tint, with an either in relief or by means of painting,
opaque white or varnish coloured glaze. which decorate a façade or contribute to
—, Fine. A faience consisting of silica, its symmetry.
alumina, and sometimes lime. Its paste Fan. Fans were known to the Greeks
is porous, white, absorbent, and opaque, as well as to Eastern nations, and repre-
and its glaze is transparent and has sentations of them
protoxide of lead as its base. o c c u r in m o n u -
— of Henri II. A very rare faïence m e n t s of c l a s s i c
of the Renaissance period, composed of art. Our first cut
plastic, clay, and flint, or quartz ground represents Cupid
very fine. Lead enters in the composi- fanning his mother,
tion of its glaze. T h e r e are only fifty- and is taken from
six specimens of it in existence, twenty- an ancient sculp-
eight in France, twenty-six in England, ture. During the
and a solitary one in Russia. All these Middle Ages fans do not seem to have
pieces were found either in the Vendée been used in Europe, but they reap-
or Touraine. They are cups, ewers, &c, peared about the fifteenth century. T h e
emblazoned with the arms of Francis I., fans made to fold up, which are generally
Diana of Poicters, and Henri II. They used in the present day, were introduced
were manufactured at Oiron by the in the 17th century. T h e artistic por-
potters F. Charpentier and Jean Ber- tion of them generally consists of a
*5S
PAN ART DICTIONARY. FAT
*57
FES ART DICTIONARY. FIG
of saints were carried in ecclesiastical Paris to the thousand and one tricks
processions. T h e feretory was fre- of the artist's trade—to the painter's
quently richly decorated with chasing happy thoughts, due sometimes to
and enamel, if of metal, and with carv- chance, sometimes to patient research.
ings in relief, if of wood or ivory. Our At first sight, for instance, the fore-
cut, representing four monks bearing a ground of a picture may appear to be
feretory, is take from a MS. by Matthew executed by impossible methods. A
Paris. closer inspection shows us that, thanks
Fess. (Her.) T h e fess is one of the t o a " ficelle," it is quite simply painted.
principal ordinaries in heraldry. It It is a " ficelle " again when a sculptor
crosses the shield horizontally and occu- sprinkles a mixture of acidulated water
pies one third of its width. T h e bar is on the folds of his draperies, and by
a diminutive of the fess, occupying only means of this colour accentuates the
one-fifth of the shield. T h e closet or relief. Nor are "ficelles" unknown in
barrulet are diminutives of the bar. the engraver's art. T h e highest form of
Fess-point. (Her.) T h e centre point art, it is true, knows not " ficelles," but
in a shield. it cannot be denied that these dodges
Festoon. (Arch.) An architectural play an important part in the art of
ornament of great beauty and variety. modern times.
It generally consists of foliage, flowers, Fictile. (Pot.) The term fictile was
or branches intertwined or bound to- applied by the Romans to
gether. It is peculiarly appropriate for pottery of every kind. Ar-
the adornment of friezes. In the pointed chitectural ornaments and
style of architecture festoons consist of pottery of the highest ar-
a series of lobes or indents. Festoons tistic merit were known as
were employed with excellent effect by fictile, as well as the earthen-
the architects of the Renaissance style. ware pots and pans in every-
A representation of a festoon will be day use. T h e moulds and
found under the heading Encarpa. stamps employed in the
Fibula. A kind of 'brooch or clasp. potter's art were placed in
Ancient fibulae, as well as the same category. Of our
those of the Middle Ages, cuts the upper one repre-
were made of gold, silver, sents a stamp used by the
or ivory, and sometimes ancient potter to make the
ornamented with precious pattern which ran round the
stones and chased with neck of a vessel, and the
care. In museums and lower cut shows the pattern
art collections many an- thus produced. [Pottery and Vases.]
cient fibulae of beautiful Field. (Her.) In heraldry the field of
workmanship are to be a shield is the groundwork or basis upon
seen. In ancient times the term fibula which the different charges are laid.
was a p p l i e d to T h e tincture of the field must always be
girdle-clasps, specified first in blazoning a shield.
which very closely Figure. A representation of a man,
resemble the woman, or animal, drawn, painted, or
buckles which are sculptured. A life-size figure is a repre-
used to-day for the same purpose, and sentation of a m a n or woman of natural
were provided with a movable tongue. size; a half-figure represents a person
[Brooch.] as far as the waist only; a figure half
Ficelles. A slang term applied in life-size represents a man or woman half
158
FIG ART DICTIONARY. FIL
!59
FIM ART DIC TIONARY. FIR
at once honoured as a saint. There are, 14th century they are extraordinarily
as is naturally to be expected, few bold in design, but in the 15th they
artistic representations of St. Filomena, begin to lose their character. They are
but images of her are to be seen in
various Italian churches.
Fimbria. [Fringe.]
F i m b r i a t e d . (Her.) W h e n a charge, as
for example a cross, is surrounded by a
narrow border of a different tincture to
itself, it is said to be fimbriated.
Fine-grinding. An operation by which
the materials used in certain arts, such
as potter's clay and painter's colours,
are reduced to a fine powder.
Finial. (Arch.) In all styles of archi-
tecture a finial denotes a sculptured
ornament, which represents a leaf or a stripped of their leaves, and finally in
flower, and which is employed (especially the 16th century they are replaced by
a stem which springs from between the
crockets on the slope of a roof.
Finish. (Paint.) T h e term finish is
applied to the final touches in t h e exe-
cution of a picture. In a highly finished
picture no detail is carelessly carried
out. As a fine example of finish Gerard
Dow's " W a t e r Doctor" may be quoted.
In pictures of small size finish is neces-
sary to success. In large pictures, on
the other hand, finish, if carried too far,
produces only an impression of dryness.
in Gothic buildings) as a termination to Fire. (Her.) A natural figure in
gables, pinnacles, and canopies. Finials heraldry. It is represented on coats of
first made their appearance in the 12th arms by a flame, a torch, a brand, or
century. At the beginning of the 13th burning coals. In early Christian art
century their section is square, and they fire is the attribute of many saints and
consist of four bunches of leaves with martyrs who suffered death at the stake.
Firebrick. (Constr.) An inflammable
brick which contains neither iron, or
oxide of iron. Firebricks are used in
the construction of
furnaces in which ^fï
porcelain, faïence, %i?
and enamels are 0&
dwelling rooms were richly decorated, lay the ground upon plates, which are to
while those placed in kitchens were be bitten by acid.
stronger and plainer in design, and gene Fitché. (Her.) An heraldic term
rally terminated in a kind of tray, upon which means tapering or pointed. For
which dishes were placed. In collections instance, a cross fitché (q.v.) is a cross
there are still to be seen many exquisite the lower limb of which tapers down-
firedogs of wrought iron decorated with wards to a point.
coats of arms. Flabellum. A large circular fan formed
Firelock. A kind of firearm discharged of peacock's feathers.
by means of flint and steel. It was in It was used as a brush
vented in the early part of the 17th cen in Asia, in Roman
tury. houses, and in the
Fireplace. In early times, in the 12th churches of the East.
century for instance, fireplaces were It was employed in
deeply recessed and surmounted by a the Latin Church until
chimney-hood (q.v.) In the Early Eng the 14th century, and
lish period the fireplace was very plain it is still retained in
and but little recessed. It was not until certain ceremonies in
the 15th century that much decoration which the Pope takes part. [Fan.]
was lavished on fireplaces. At that time Flag. A stone used in the making of
the hearth was set far back, and it was pavements.
no longer necessary to use a hood. Flagellation. A term applied to pic-
Firing. The operation of fixing the tures or bas-reliefs representing the
colour in glass or enamel, by submitting scourging of Christ.
the painted objects to the action of fire. Flagon. A long-necked vessel with a
First Proof. (Engrav.) A proof printed spout and a lid, used for holding liquids.
from a plate before the inscription and At the time of the Reformation the
author's name has been cut on it. flagon was ordered to be used instead
First State. (Engrav.) An engraving of the cruet in the services of the Church.
is said to be a first state when it is struck It has now been replaced by a vessel of
from a plate which has only been bitten a different shape.
once and has not received its final Flail. A weapon made on the model of
touches. T h e term is also applied to a the agricultural implement of the same
print, either finished or not, which name. It was made of wood, and its
differs from the proof of the second arm was sheathed in iron and often
printing. rendered more dangerous with spikes.
Fish. A curious symbol frequently Flake White. (Paint.) A pigment
found on early Christian monuments composed of oxidised carbonate of lead.
and tiles. It is the emblem of our Lord, It owes its name to the fact that it is
and the usual explanation of it is, that it sold in flakes or plates. It has a good
is taken from ΙΧΘΥ2, the Greek for fish, body, and under certain conditions is
the letters of which are the initials of permanent. Oil and varnish dissolve it,
t h e w o r d s Ίησοΰς Χριστό? ©eov Υίος %ωτηρ, and it is apt to turn grey in an impure
i.e. Jesus Christ, the Son of God, the atmosphere, while it, in its turn, is
Saviour. Another explanation is that it destructive to lakes and orange leads
contains a reference to the text, " I will when mixed with these pigments.
make you fishers of men," but the one Flamboyant. (Arch.) A name given
first stated is the more probable. to the French Gothic architecture of the
Fish-tail. (Engrav.) A term applied 15th and 16th centuries, which corre-
to a broad flat brush, which is used to sponded in point of time with the Per-
161
FLA ART DICTIONARY. FLE
pendicular (q.v.) style in England. T h e Flanks. (Arch.) T h e flanks of an arch
flamboyant style is characterised by are those portions of an arch between
the spring-line and the vertex.
Flask. A vessel to contain liquids, used
in Italy and elsewhere. It is a kind of
flagon, long and narrow, and generally
of a graceful form. Flasks were carried
by pilgrims, and so we often find a flask
suspended to a pilgrim's staff in works
of art.
balustrades and traceries, resembling Flasques. (Her.) A diminutive of
flames in their contours. flanches, a smaller piece being cut out
Flammeum. (Cost.) A long thick veil of the field of the shield.
of a brilliant yellow or flame colour, Flemish Bond. (Arch.) That method
which was worn by Roman women on of laying bricks in a wall so that in each
course headers (q.v.) and stretchers
(q.v.) appear alternately.
Flemish White. [White Lead.]
Flesh-tints. (Paint.) A term applied
to those tints or colours observed in the
nude human body. T h e representation
of the nude is one of the most important
branches of painting, and therefore too
much stress can scarcely be laid upon
the study of flesh-tints. T h e best
colours with which to represent flesh
are pink madder, brown madder (for the
darkest touches), Indian red (as a
shadow colour), Venetian red and ver-
milion for the carnations of flesh. In
painting flesh the colours should be laid
on thickly, as a good effect cannot be
obtained by thin layers of colour over a
large surface. T h e term " flesh-tints "
in a general sense denotes the power
displayed by a particular artist in the
their wedding day. During the cere- rendering of the nude ; thus we speak
mony it covered the head of the bride, of the flesh-tints of Rubens, of Titian,
who was unveiled by her husband on &c.
reaching home. Fleur-de-lis. A flower which is found
Flanches. (Her.) A flanch consists of in many coats of
a segment of a circle cut out as it were arms as the symbol
from the side or flank of the field. of nobility or sove-
Flanches are always "borne in pairs reignty. It is pre-
and are reckoned as a subordinacy eminently the royal
(q.v.). They are rather rare in English insignia of France. It assumes diffe-
heraldry, but a good example is to be rent forms at different epochs. The
found in the arms of Sir Bartle Frere : two most strongly marked types are
Gules, between two flanches or, two those of the reigns of St. Louis and
leopards' faces in pale or. Louis XIV. T h e former was slender
162
FLE ART DICTIONARY. FLO
and graceful in design ; the latter squat Fleuron. (Arch.) A name given to the
and heavy. In early times the banner small rose-like flower, surrounded by
of France was covered with fleur-de-lis, leaves, which is em-
as in our cut, but from the time of ployed as an ornament
Charles VI. it showed only three fleur- in the classical style of
architecture. It is most
frequently found in the
centre of the abacus of
Corinthian capitals. It was the same
ornament as that generally known as
the honeysuckle pattern.
Flint-ware. (Pot) A kind of fine
faïence, which takes its name from the
flint which enters into its composition.
Floral. Floral ornament is the system
of ornament borrowed from the vegeta-
ble kingdom. T h e floral ornament of
the Greeks is almost confined to the
acanthus ; that of the Gothic style, how-
ever, is of considerable variety. At the
beginning of the 13th century the leaves
generally sculptured were those of the ivy,
vine, holly, marsh-mallow, and eglantine,
By the end of the 13th century the leaves
de-lis on a blue ground. For many of the oak, wild plum, fig, and pear had
centuries the fleur-de-lis were quartered been added to those already mentioned.
on the royal arms of England in asser- In the 14th century the leaves of the
tion of the claim of the English royal black hellebore, chrysanthemum, sage,
family to the throne of France. They pomegranate, geranium and fern were
were expunged from the shield by George the favourites, while in the decorative art
IV. of the 15th century we most often meet
Fleur-de-lis flory. A fleur-de-lis with the thistle, thorn, and mugwort.
Flooring. (Arch.) An arrangement of
Flutings, Sharp. Flutings the curves division and outline of the foils a r e
carried on to the
extrados of the
vault. In the
pointed style
of which terminate at their point of con- many examples of
tact in an acute angle. windows are found
—, Twisted. Flutings encircling a divided vertically
column in spirals. by ribs or mul-
— with Astragals. lions, which cross
Flutings filled with flat and interlace at
or convex astragals the spring of the arch, leaving foils
These astragals are between them in the form of convex or
sometimes simple, concave portions of arcs of circles, their
sometimes cut in the intersections being formed by projecting
form of a cord or I crockets often ornamented by foliage.
cane, round which fo- i Foil Arch. (Arch.) A foil arch is an
liage is turned in | arch made of our several smaller arches
spirals. | or foils.
—, Zigzag. Flutings Fold. A term applied to the angles
drawn in a zigzag line. and broken masses formed by draperies
Flux. A substance used in painting in which fall loose. T h e proper treatment
enamel. It consists of glass, as clear of the folds of draperies is an important
and transparent as possible. It is part of the work of both sculptor and
spread over the plate which is to be painter.
enamelled and serves as a ground, Folding Doors. [Doors, Folding.]
importing to the plate a brilliant surface Foldingstool, or Faldstool. A movable
and serving to fix the colours. During chair or stool, which folds up in very
the process of enamelling every colour much the same manner as the modern
is mixed with a certain quantity of campstool. It was made of wood or
flux. The term is also applied to a metal, and sometimes covered with
colourless enamel, employed by potters, some rich material, such as silk. In
which is blended with colours and serves olden times bishops carried foldingstools
as their vehicle.
Focus. (Photo.) T o put an object in
focus is to make either it or the glass to
retire or advance until the image on the
glass is absolutely clear.
Foils. (Arch). T h e divisions or com-
partments of an
arch or spandril
formed by arcs of
circles in Moorish about with them, and used them if they
and Gothic archi- had to officiate in any but their own
tecture. Arabian church, and so an ecclesiastical signifi-
arches are divided cance was attached to foldingstools, the
into foils, which term sometimes even denoting the
are always of an cathedra or bishop's throne itself. Our
uneven number. Sometimes in arches two cuts are taken from MSS. of the
inscribed in rectangular openings the Saxon period.
165
FOL ART DIC TIONARY. FON
168
FOU ART DICTIONARY. FRA
which surround drawings and engravings pigment obtained from lead, possessing
under glass generally consist of flat slips the qualities, good and bad, of white
of wood, a margin being left between the lead. On account of its destructive
frame and the print or drawing to influence on other pigments its use
heighten its tone. For water-colour cannot be recommended.
drawing a white mount is best, while Fresco. A mural painting executed on
for drawings in monochrome a mount a fresh ground—in Italian al fresco—of
of a bluish tint is to be preferred. In lime and gypsum. T h e brushes used
this kind of framing there is considerable are long and pointed or square and flat,
scope for taste, which is particularly but in either case have very long hairs.
shown in choosing a mount best suited T h e colours are diluted in earthenware
in colour and dimensions to set off the vessels. T h e colours, when applied to
drawing it surrounds. the surface, lose their strength and
Frame-wall. A wall which consists of brightness, as they combine with the
beams, arranged as lime ; in order therefore to double
in the cut, with or treble the value of the tints each
the spaces between piece must be gone over two or three
filled with bricks, times, but care must be taken to do this
plaster, or blocks immediately. T h e ground soon be-
of terra-cotta. T h e comes unfit to paint on, and therefore
brick or plaster is in fresco painting retouching is im-
always of the same possible. This is its chief difficulty.
thickness as the On the other hand, as the colour com-
frame-work made bines with the lime in the ground it is
by the beams. of great durability. Fresco painting is
François Vase. One of the most chiefly used for the decoration of walls
celebrated of the ancient Greek vases and ceilings. A good example of it is to
which have come down to us. It is be seen at South Kensington Museum,
archaic in style and dates from the sixth one room in which is decorated by two
century, being the work of the potter designs illustrating the arts of War and
Ergotimus. Its ground is red, and it is Peace and painted in fresco by Sir
decorated with black figures in zones. Frederick Leighton. T h e ar L was known
Among the subjects represented are the to the ancients, but not revived until
procession of the deities at the marriage the 16th century, when it began to be
of Thetis and Peleus, the battle between successfully practised by the Italians.
the Lapithse and Centaurs, several inci- It should be remembered that the term
dents in the life of Achilles, &c. fresco refers exclusively to the process
Frankfurt Black. (Paint.) A bluish- by means of which this class of wall-
black pigment of great service in oil paintings are carried out, and must not
painting, as it dries well and is perma- be applied loosely to any mural decora-
nent. It is prepared from calcined vine tion.
twigs or cocoa-nut shells. Fret. (Arch.) A flat or semicircular
Freestone. (Arch.) Stone which is
cut in square blocks and worked with a
chisel.
French Blue. (Paint.) An artificial
blue pigment chemically obtained. It
is injured by heat but is otherwise per-
manent. moulding applied to a flat surface and
F r e n c h W h i t e . (Paint.) A pure white consisting of broken lines or interlace-
170
FRE ART DICTIONARY. FRI
ments. T h e meander pattern, for in- non to be seen among the Elgin marbles
stance, is an example of the fret, as is at the British Museum. T h e term frieze
is applied to the j
broad border which
sometimes runs
round a room between the top of the
wall paper and the cornice. By an an-
also the ornament known as the broken alogy frieze may also denote a drawing,
batoon shown in our second cut. There painting, or sculptured bas-relief, the
length of which is considerably greater
than its height.
Fringe. Fringes have been employed
to decorate the borders of garments and
cloths in every age and in every country.
They are frequently mentioned in the
are also crenelated, triangular, and un- Bible, and many representations of them
dulating frets. occur in Assyrian monuments. The
Fret. (Her ) A fret is a subordinary Egyptians, too, added rich heavy fringes
formed by inter- to their garments, and we are told that
lacing two narrow
bands, crossing
one another in
saltire, with a
mascle ; or to use
less technical
terms, it may be
described as a
thin St. Andrew's
cross interlaced with a hollow lozenge.
Fretty. (Her.) This is the name of a
varied field, formed by the
alternation and interlacing
of narrow bands crossing
the shield in directions of
the bend and of the bend-
sinister, as shown in the
accompanying cut. Julius Cassar wore them on the sleeves
Frieze. (Arch.) T h e part of the en- of his tunic. They may be obtained by
tablature situated between the architrave leaving the threads of the warp in the
and cornice in cloth after it is woven ; these threads
the ancient or- are then knotted and so prevent the
ders. In the cloth from unravelling. On the other
Doric order the hand the richest and costliest fringes
frieze is deco- are made separately and sewn on to the
rated with me- cloth which they adorn.
topes and triglyphs; in the Ionic and Frisquet. (Engrav ) A name given to
Corinthian orders it is ornamented with the piece of paper laid by wood-
bas-reliefs forming a continuous design. engravers on that portion of the block
The finest example of an ancient frieze which they have not yet cut when they
in existence is the frieze of the Parthe- take a proof of their work. A proof is
171
FRI ART DIC ΊΟΝΑΒΥ. FUR
thus obtained of only those lines already his last resting-place. Such is the cha
cut by the engraver. riot now in the crypt of St. Paul's upon
Frithstool. (Arch.) T h e meaning of which the great Duke of Wellington
this curious old term is the stool of was borne to his last resting-place.
peace, and the chair denoted by it was Funicular Ornament. (Arch.) A
in ancient times the last resting-place round convex mould- ^^^^^^β^^^^
of those who sought sanctuary within ing in the form of a < ^ ^ ^ ^ ^ ^ ^ ^ ^ S ^
the walls of a sacred building. The
frithstool was made of stone and stood Fur. (Her.) Eight furs are employed
close to the altar in minster churches. A in heraldry: Ermine, E r m i n e s ; Ermi-
specimen is still to be seen at Beverley. nois, Pean ; Vair, Counter-vair ; Potent,
Frontal. T h e cloth, frequently of Counter-potent. Descriptions of these
embroidered silk, which was hung over different furs will be found under the
t h e front of an altar. name of each of them.
Frontispiece. A term applied to a Furies. T h e daughters of earth and
reproduction of a drawing or painting darkness, whose duty it was to pursue
obtained either by engraving or some the guilty who had left their sins
mechanical process, and placed as an unatoned. Their proper abode was in
illustration facing the first page of a Hades, but, as in the story of Orestes,
book or magazine. they were sometimes sent to persecute
Fruit. (Her.) Fruits are occasionally the guilty on earth. In the Greek
employed in heraldry as charges. tragedy which bears their name they
Those of most frequent occurrence are appear as women of hideous mien,
acorns, nuts, apples, and grapes. clothed in black, with snakes for hair.
Fruits. Representations of fruits com T h e sculptor Calamis is said to have
bined with foliage often appear as forms fashioned some statues of the furies and
of sculptured ornaments. [Garland.] to have invested them with none of the
Fulham Pottery. In the 17th century hideous features which were ascribed to
John Dwight established a manufactory them by Aeschylus. In later times they
of porcelain and earthenware at Fulham. were regarded as maidens of a dignified
H e took out a patent for the manufacture beauty.
of porcelain, but not satisfied with his Furnace, Enameller's. A furnace of
progress he burned his moulds and fire-proof earthenware covered with a
receipts and devoted himself to the lid and placed on a tripod or solid block
making of earthenware. Some interest
ing figures and statuettes made at the
Fulham potteries are to be seen in the
British Museum.
Funeral Banquet. A funeral banquet
very often forms the subject of Greek
stelae or sculptured tomb-stones. T h e
dead man is represented as reclining on
a couch and receiving from his relatives
the food necessary, according to the
Greek idea of death, to support his life
in the tomb.
Funeral Chariot. A carriage of no three or four feet high. Into this fur
definite form, but built after the special nace the plates covered with powdered
design of a painter or architect, on enamel are placed, until they become of
which the body of a hero is carried to a white heat.
172
FUR ART DICTIONARY. GAB
Furniture. T h e furniture of a room period gables serve to mask roofs and
includes all that contributes to its deco- then only present
ration. Considerations of expediency as a flat surface ter-
well as the varying taste and fashion minated by a
of the time assign to furniture a very cross. In Gothic
important place among the decorative architect ure,
arts. gables surmount-
Furrings. (Arch.) A small piece of ed by crockets
wood placed on a roof and finials, not
at the base of the raft- only mask the
ers and projecting slope of a roof
some distance : its but also termi-
purpose is to carry nate the pointed
the rain water off from arches above door-
the vertical wall. ways. Sometimes
Fusil. (Her.) The fusil is an elongated several gables rise on different planes,
form of the lozenge, and like the lozenge the one above the other, each one pro-
is reckoned as a subordinary. It is jecting beyond the one beneath it. This
usual for several fusils to be borne method of decoration was particularly
together on a shield.
Fusilly. (Her.) This is the name given
to the varied field formed by covering
the surface of the shield with alternating
fusils.
Fylfot. A mystic cross of very an-
cient origin, which is said
to have been introduced into
Europe from India. It occurs
as a decoration in Celtic adopted in domestic buildings of the
pottery and also on early Gothic period. In modern times gables
monumental brasses. are rarely seen. There is one peculiar
kind of gable, the sides of which, instead
of being straight lines, pre-
sent a series of projections,
which resemble the steps
G. of a staircase. These pro-
Gabardine. (Cost.) A cloak of uncer- jections are called corbie- j
tain shape, in all probability reaching to steps (q.v.) in Scotland.
the feet and fastened round the waist by Many old houses in Belgium as well as
a girdle. It was worn by shepherds, and in Scotland are found with gables built
from the passage in Shakspere's Mer- upon this plan. Properly speaking a
chant of Venice, " H e spat upon my Jew- gable only denotes the pediment we
ish gabardine," it has been thought to have described, whereas a gable-end
have been the dress affected by the denotes the gable and the whole wall
Jews. which it surmounts.
Gable. (Arch.) A kind of triangular Gablet. (Arch.) A small gable used
pediment, always very high in propor- in Gothic buildings to surmount a niche
tion to its width, frequently employed in which a statue was placed, or to ter-
in Romanesque and Gothic architec- minate small pointed arches.
ture. In buildings of the Romanesque Gabriel, St. T h e angel who under-
173
GAD ART DICTIONARY. GAL
174
GAL ART DICTIONARY. GAM
dors which united two portions of a period of history, during which the Gauls
building. Such corridors in large houses were placed under the Roman yoke
were often decorated with pictures, and Galoon. (Arch.) A system of orna-
so any room in which pictures were ment consisting of a row of pearls
hung came to be termed a gallery. iMiimimiiiHimiMinintmiiiHHimn.
Hence public buildings which are de- OOOOOOOO
voted entirely to the display of works
of art are called galleries. In theatrical
architecture the balconies which run applied to a band, or of a band pierced
round the top of the auditorium are and covered with striae. In either case,
called galleries. In Gothic architecture as a rule, it projects but little.
the term gallery has a special significa- G a l v a n o g r a p h y . Under the term
tion. It denotes the division into stories galvanography or galvanoplastie art are
of the interior or exterior façade of a included all those processes by which
church. These divisions are marked by statues, bas-reliefs, and engraved blocks
balustrades or arcades. Some Gothic or plates may be exactly reproduced.
galleries are as wide as the aisles. In A hollow mould in wax is taken of the
the 13th, 14th, and 15th centuries they object to be copied; the wax mould is
are sometimes nothing more than pas- then placed in a bath, and an electric
sages in the interior of the walls. current passing through it, a metal de-
Gallery, Whispering. (Arch.) A posit is formed upon the wax. T h u s
vaulted gallery which is so contrived a facsimile is obtained, the thickness
acoustically that the faintest whisper and solidity of which are proportional
can be heard from one end of it to the to the length of time the object is
other, being at the same time imper- permitted to remain in the bath. T h e
ceptible in the middle. process of covering metal objects with
Galley. A long ship with a single a thin coat of another metal is an im-
portant branch of galvanography.
It is thus that copper-plates, from
which an engraving is to be printed,
are covered with a film of steel.
On the art of engraving indeed
galvanography has exerted a most
powerful influence. [Electrotype.]
Gambeson. A tight-fitting body-
garment worn in the 13 th and 14th
century either
underneath
the hauberk
deck, propelled either with oars or sails. (q.v.) or without it.
T h e galley was the form of ship univer- It was of consider-
sally used in ancient times, and repre- able thickness, be-
sentations of it are often found on bas- ing padded and
reliefs, &c. T h e galley survived in quilted as shown
Southern Europe until the eighteenth in our cut, which
century, but is obsolete now. It occurs is taken from a
as a charge in heraldry under the name picture by Mem-
lymphad. ling.
Gallo - Roman. A term applied in Gamboge.
archaeology to objects belonging to that (Paint ) A solid resinous green pro-
175
GAN ART DICTIONARY. GAR
duced from the tree known to botanists Gargoyle. (Arch ) A term applied to
as the Hebrddendron cambgoides. It the spouts placed at the base of roofs
readily dissolves in water and forms a in Gothic buildings for the purpose of
beautiful gold yellow pigment. It is carrying the rain water far from the
very useful in water-colour, especially walls. Gargoyles came into use about
in obtaining greens, which vary in tone the end of the 12th century. They
according as the gamboge is mixed with then consisted of two layers, one of
Indian ink, Prussian blue, or indigo. which formed the gutter or trench, the
Mixed with carmine, gamboge yields an other the lid. Even at this early period
orange green. they were decorated with ornaments
Ganymede. In Greek mythology and grotesque sculptures. They most
Ganymede was the son of King Tros and frequently represented animals or fan-
Callirrhoë. H e was carried off by Zeus tastic creatures, from the throat of which
and appointed his cup-bearer in Olym- the rain water was discharged. Some-
pus. H e is generally represented in
works of art as a handsome youth,
while an eagle, the bird of Zeus, stands
at his side, as a symbol that he holds
office in Olympus. In modern and
popular pictures it has become the
fashion to represent Ganymede as
carried off to Olympus by an eagle, times they assumed the form of stooping
but this is a late development of the figures projecting beyond the roof and
myth, and is justified neither by the art holding a horn, from which the water
nor poetry of the ancients. flowed out. In the 15th and 16th cen-
Garden. T h e proper arrangement turies gargoyles were made of beaten
and disposition of gardens is closely lead, and represented chimasras, sirens,
allied to architecture, and therefore a few and other mythical animals, not only on
words must be said with regard to it the façades of castles but even on gables
here. One of two contrary methods overlooking the street. Gargoyles are
may be followed in this art. In the one primarily a necessity, but they serve a
method rigid symmetry and dignified distinct purpose from an artistic point
regularity are aimed at. All inequalities of view, for by their horizontal projec-
of surface are either rigorously levelled tion they add distinction to the great
or advantage is taken of them to form vertical line of buildings.
terraces, while avenues, labyrinths, and Garland. (Arch.) A kind of architec-
flower beds are formed of combinations
of straight lines and portions of circles.
Moreover trees are cut into artificial
shapes, such as cones, pyramids, or even
grotesque animal forms. This kind of
garden was popular in the 17th and 18th
centuries and many of its charac-
teristics may be observed at Hampton tural ornament representing foliage,
Court Palace. In the other method of flowers, and fruits
garden architecture an attempt is made
to conceal design by giving a studied air together with rib- M^^te^^^S^ffll
of naturalness to the whole, so that it
may resemble a landscape as much as generally appear *·
possible. in the form of a long cylindrical band,
17Ò
GAR ART DICTIONARY. GEL
which is flexible and swells slightly in formed the impost, was decorated with a
the middle. They are sculptured on pediment, richly ornamented. Gateways
certain projecting surfaces, placed round and gatehouses are still to be seen in
the shafts of columns and employed in large numbers on the Continent, but
decorating panels, pediments, &c. they are rarely found in England. St.
Garnet. A gem generally of a red John's Gate in Clerkenwell, for so many
colour, useful for decorative purposes, years the meeting place of the Urban
but little esteemed on account of the Club, is the best and most easily accessi-
abundance in which it is found. It is of ble example.
little service to the gem engraver, as it Gauntlets. Gauntlets of leather,
easily splinters. sometimes covered with metal plates,
Garret. (Arch.) T h e top story of a sometimes studded with nails called
house, generally formed within the roof. gadlyngs (q.v.), became a part of the
It is thus of necessity low-pitched and
has a sloping ceiling.
— Window. (Arch.) A window which
admits daylight
into a garret. It
fits into the roof
and moves up
and down, being
fixed on one side like a hinge.
Garter. (Cost.) A strap or tie, the
purpose of which is to hold up the stock-
ing. In Saxon and Norman times it was
fastened transversely across the leg and
was then called a " cross-garter." T h a t ornament of the knight towards the
this fashion was revived in Shakspere's end of the 13th century, and were worn
time we gather from Twelfth Night, in in some form or other, until armour
which play it will be remembered was finally relinquished in the 17th
Malvolio wears " cross-garters." Gene- century.
rally speaking, however, the garter was a Gelatine. A colourless substance ex-
simple tie just below the knee, some- tracted from bones and membranous
times with a bow, sometimes without. tissues, insoluble in water but liquefying
The celebrated " Order of the Garter " under the action of heat. Gelatine plays
was established by Edward III. in 1350. a most important part in the modern pro-
Its badge is a garter and its motto cesses, by means of which a photograph
" Honi soit qui mal y p e n s e . " is transformed to a plate or cliche, from
Gateway. (Arch.) A covered opening, which engravings may be printed. Gela-
large enough to admit carriages. A tine is also used by sculptors to obtain
smaller opening through which foot a large number of proofs from the same
passengers may pass is generally found model or to obtain the imprint of a
by the side of it. In the Middle Ages bust, bas-relief, or other object. Gelatine
gateways were important structures, and mouldings possess the advantage of
a house, called a gatehouse, is frequently being easily detachable, on account of
found above them. T h e r e the porter or the elasticity of the material.
gate-keeper dwelt. In the 17th and 18th Gelatino-bromide. (Phot.) A process
centuries they were very lofty, their by means of which sensitive glass plates
height being often equal to two stories. may be prepared in advance and kept
In this case the upper part which in the dark for an indefinite period,
177
GEM ART DIC TIONARY. GEN
both before and after being exposed in good spirit called a genius was supposed
the camera. Plates prepared by the by the Romans to be called into being
gelatino-bromide process are more sen- at the birth of every mortal. In artistic
sitive than collodion plates ; they are representations the ge-
more rapidly affected by the light, and, nius appears as a winged
more than this, they do not require, as boy wearing a chlamys.
collodion plates do, to be developed im- Not only mortals but
mediately in order to bring to light the places too had their
image obtained. guardian angel. This
Gem. A generic term for all kinds of was called a genius loci,
precious stones. It is especially used in and was represented by a serpent, as
the sense of an engraved gem. in our cut.
Gem E n g r a v i n g [Glyptics.] Genouillères. Knee-pieces of leather
Genealogical Tree. (Her ) This is a or metal, first worn in the 13th cen-
conventional tree tury. They formed a sort of connection
carrying at the in- between the thigh-piece and the greave.
tersection of its Genre-painting. Under this term may
branches shields on be classed all those pictures, the subjects
which are blazoned of which are taken from real life, do-
the arms of the mestic history, or the field of fanciful
various members of anecdote, in opposition to grand histori-
a family, starting cal and religious scenes. Genre always
from the trunk and implies a faithful imitation of nature
working upwards and the reproductions of actual types.
with the branches. At the same time it does not exclude
Geneviève, St. St. Geneviève was a either poetry or imagination. Genre-
peasant girl who was born at Nanterre painting has been practised from the
in 421, and from her early childhood very earliest times. T h e finest genre
dedicated herself to Christ. Many fabu- pictures in existence are those painted
lous stories are related of her. Her by the artists of Holland and the Nether-
vigils were frequently disturbed by de- lands. This branch of painting, however,
mons, who extinguished the tapers which has been cultivated by artists of every
she piously kept burning, and which school, and British painters have shown
were immediately relit at her prayer. a distinct preference for it ever since
When Attila, the Hun, lay siege to Paris, the time of Hogarth.
Geneviève entreated the people not to Genre-sculpture. Genre-sculpture is
flee and so saved the city. Henceforth far more rare than genre-painting.
she was held in great honour, and when Bronze and marble do not easily lend
she died at an advanced age she was themselves to the treatment of familiar
buried by the side of Clovis and Clotilde. subjects. T h e r e are, it is true, some
She is most frequently represented as specimens in existence of Greek sculp-
the peasant girl of Nanterre, with her ture which may be said to belong to the
flock of sheep round her, but sometimes branch of art called genre. Such are the
she appears as the patroness of Paris, group of boys playing the knuckle-bones
wearing a veil and holding a book and a called the A stragalizontes [AstragolusJ,
taper, while a demon with the bellows and the figure of a boy holding a goose,
looks impishly over her shoulder. Re- which we so often see in museums. But
presentations of her are only found in for the most part works of genre-sculp-
French art. ture are of small dimensions and in a
Genius. A kind of guardian angel or less durable material than marble or
178
GEO ART DICTIONARY. GIL
bronze, such as terra-cotta. T h e genre- limbs. When we say that the gesture
sculpture of modern times is for the of a figure is bad, we mean that the
most part vulgar and devoid of interest. figure is clumsily drawn, that the limbs
Geometrical Drawing. The science are not properly proportioned, that the
of drawing geometrical figures with the prevailing lines are unpleasing to the
help of certain instruments, such as eye, or that the attitude does not
compasses, squares, and protractors. A sufficiently suggest the action, which
course of geometrical drawing is a the artist proposed to himself to repre-
preliminary step in the education of the sent.
artist. Giallolino. (Paint.) A name given by
— Tracery. (Arch.) A term applied the Italians to what is generally known
by Rickman to tracery belonging to the as Naples yellow (q.v.). It is an opaque
decorated period, in which the figures pigment of good body, and is composed
composing it—circles, trefoils, quatre- of antimony and oxide of lead.
foils, &c.—do not regularly join each Giants, The. In Greek mythology the
other but touch only at points. It is giants were a race of monsters who
opposed to flowing tracery (q.v.). sprang from the blood of Uranus.
George, St. T h e story of St. George, They made war upon the gods for a
the patron saint of England, is purely long time with success. Athene and
mythical. H e is generally represented Zeus were unable to destroy them until
on horseback bending over a dragon, they called in the aid of Heracles.
whom he has pierced with a sword. [Gigantomachia ]
Sometimes a maiden appears at his side Gigantomachia. T h e war of the gods
with the giants was a favourite subject
with Greek sculptors. It was repre-
sented on many famous reliefs. It
formed the subject of the metopes on
the eastern façade of the Parthenon, as
well as of the great frieze which deco-
rated the altar dedicated to Zeus at Per-
gamum.
Gilding. T h e art of applying gold
either in leaf or dust to surfaces of
metal, stone, or wood. T h e gold thus
applied is itself termed gilding. T h e art
is one of great antiquity, but it is only in
modern times that the method of apply-
ing a thin coating of gold has been dis-
covered.
—, Electro. In this process the objects
in accordance with the legend that he which are to be gilded are plunged into
rescued the daughter of the king of Egypt spcially prepared baths of chloride of
from a dragon. It is thus the subject of gold and submitted to the action of an
St. George is treated in a well-known electric current. A fine film of gold is
picture by Raphael. T h e banner of St. thus deposited upon the objects.
George, a red cross on a silver ground, —, Glass. A process which consists
is the banner of England. in applying to glass a layer of chloride
Gesture. A term applied to the atti- of platinum mixed with essence of
tude of a painted or sculptured figure, terebinth and plunging the object in a
to the pose of the body, or the set of the gold bath after it has been fired.
179
GIL ART DICTIONARY. GIR
of the 15th century was the national cipal systems of glass-painting. The
weapon of the Welsh. more ancient is termed mosaic glass-
Glass. A solid and transparent body painting, in which every colour was on
obtained by the fusion of siliceous sand a separate piece of glass, and the picto-
with certain alkaline earths or salts and rial effect was produced by combining
metallic oxides. Small vases and drink- variously coloured pieces. This method
ing vessels were made out of this material disappeared from use about the 16th
in the earliest times. T h e manufacture of century. T h e later system, which took
glass was understood by the Egyptians the place of mosaic glass-painting in the
nearly two thousand years before Christ. 16th century, may be termed the enamel
It was practised by the Greeks and Ro- method. Colours are laid on to the glass
mans, and many specimens of ancient with a brush and fixed by the processes
glass have been dug up in tombs. T o ordinarily employed in enamel-painting.
what a point of excellence glass-making This system of glass-painting has sur-
was carried by the ancients, the Portland vived until modern times.
vase (q.v.), now in the British Museum, Glass Window. Churches
will testify. In the Middle Ages the art Gothic style have in every
of glass-making seems to have been period been decorated with
neglected, and cups were then made of windows, consisting of painted
horn or wood instead of glass. About glass, held together by strips
the 15th century, however, the art was of lead and kept in their place
revived by the Venetians, who were long by bars of iron fixed to the
without rivals in the making of glass. mullions of the windows. T h e
Cups, bowls, and bottles of Venetian glass windows of the 12th cen-
manufacture are to-day of the greatest tury had a ground of colourless
value. T h e finest modern glass comes glass for the picture they represented,
from Venice or Germany. and a border of coloured glass. In the
— Case. A small glass cupboard in 13th century glass windows were of a
which works of art brightness, which was positively dazzling.
are placed, either in In the 14th century the drawing was more
private collections correct, and an attempt was made to
or in exhibitions and introduce picturesque effects, light and
museums. Glass shade, & c , into stained glass. In the
cases are sometimes 15th and 16th centuries, the tendency to
vertical and rise to a regard glass windows as pictures be-
considerable height, came still more marked. Much of the
shelves being placed coloured glass which decorates the
one above the other churches and palaces of the 17th century
so as to render it possible to exhibit a large is of great splendour. Among the finest
number of objects in one case. Some- specimens of the glass of this period are
times they are horizontal, in the form of the windows of Gouda in Holland and
a table covered with glass, and about Liège in Belgium, and in King's College
breast high. Chapel, Cambridge. In the 18th century
—, Cut. A term applied to objects little fine-coloured glass was manufac-
made of glass, the facets of which are tured, and the present century has been
cut on a grindstone. able to do little more than make an in-
—, Filigree. Glass vessels decorated genious pastiche on the productions of
with fillets variously coloured and inter- all preceding centuries.
laced. Glaze. (Pot ) A vitreous coating, with
— Painting. There are two prin- which pieces of pottery are covered, and
182
GLA ART DICTIONARY. GOD
the round body of a vase or any convex Gore. (Her.) This is an abatement or
surface. T h e n a m e is also applied to difference sometimes borne on shields.
It consists of two curved pieces cut o u t
of the sinister side of the field so as to
form a cusp pointing towards t h e dexter.
Gorge. (Arch.) T h e upper part of a
column below the
echinus in the Do'
rie order. The
term is also ap-
plied to a moulding
certain projecting ornaments which are of concave outline
generally found in the decoration of as well as to a kind
roofs. of ogee (q.v.) of
Goffering. T h e impressing by means strongly-marked profile, which is em-
of hot irons systems of ornament either ployed in buildings of the Gothic style.
sunk or in relief upon stuff, leather, Gorget. A piece of armour used in
paper, cardboard, &c. the 15th and 16th centuries to protect
Gold. A precious metal used in the the junction of the helmet and cuirass.
plastic and decorative arts. T h e costliest Gorgoneion. An ornament represent-
ornaments and vessels have been made ing the head of a woman seen in full
of gold in all ages and in all nations ; face, with serpents coiled round it and
and gold has been especially used as lips parted, which resembled the head of
the material for ecclesiastical chalices
and decorations. In symbolic art gold
signifies purity, dignity, and glory, and
in Christian paintings the nimbi on the
heads of saints are always represented
as of gold.
Gombron Ware. (Pot.) T h e first Ori-
ental ware brought to England in the
17th century was shipped at Gombron,
and hence was called Gombron or
Gombroon ware. When the impor- Medusa which Pallas carried on her
tation of pottery from Persia came to shield. On account of its adaptability
an end on the opening up of communi- for filling up a certain space on a wall or
cation between China and England, the shield it was very widely used for deco-
term Gombron ware disappeared from rative purposes.
use. Gothic. A term applied to mediaeval
Gonfannon. A special kind of banner paintings and sculptures, distinguished
or flag borne at the by lank figures, the attitudes and move-
head of a lance and ments of which display a certain stiff-
ending in one or more ness. This deficiency, however, is fully
points. Such banners atoned for by an extraordinary skill in
are now frequently execution and perfection of detail.
carried in processions Works of sculpture belonging to the
of the Roman Catholic Gothic period, being executed with the
church. place they were to occupy in view,
Goniometer. An instrument employed always fit into a moulding or niche,
to measure angles. without exceeding their proper limit.
184
GOT ART DICTIONARY. GOT
Under the term Gothic are included all the Decorated style, which gave way in
buildings of the pointed style which suc- the 15th and 16th centuries to the Per-
ceeded the Romanesque. T h e most pendicular style, or Gothic of the De-
beautiful and refined buildings of this cadence. These are the three main
periods of Gothic architecture. The
names we have given them are those
square-pointed graver are broad and not orders little is known. T h e three purely
very deep, and they print grey, because Greek orders are the Doric, Ionic, and
they do not take much of the ink. T h e Corinthian. T h e first named appeared
handle of the graver is cut off flat on one in the 7th century B.C., the second a
side so that it can be held close tò the hundred years later, and the last in the
copper-plate. fifth century B.C. [Corinthian ; Doric ;
Greaves. Greaves, or armour for the Ionic]
front of the legs, were worn both by the Green. Green is a colour formed by a
ancients and in the Middle Ages. They mixture of yellow and blue. Green pig-
ments are, generally speaking, oxides of
copper. Malachite or mountain green
is a hydrated bicarbonate of copper.
Scheele's green is a cupric arsenite.
Sap green, or verde vessie, on the con-
trary, is obtained from the juice of buck-
thorn berries; but this is not a useful
pigment, being fugitive, and it is only
employed in water-colour.
— Bice. A pigment composed of a
carbonate of copper mixed with oxide of
iron. It is generally permanent, being
only destroyed by acids.
—, Brunswick. (Paint.) A pigment
used in oil-painting, obtained from sul-
phate of copper, white oxide of arsenic,
potash, and acetous acid. Ordinary
Brunswick green is nothing more than a
mixture of chromate of lead and Prus-
sian blue, and is by no means perma-
nent.
—, Chrome. [Chrome Green.]
Grees. Steps rising gradually one
were generally made of metal, often above the other. T h e term is generally
richly chased, or (in the Middle Ages
at least) of cuir-bouilli (q.v.). Our
cut represents a fine specimen from
Pompeii.
Greek. A name given to a system of
ornament consisting of broken lines at
consisting of curves and angles com- uniform in tone in every part of the
bined. It obtained its n a m e from the plate. For the meaning of the term in
Chevalier Grolier, who in the 15th cen- etching see Etching-ground. In paint-
tury adopted this scroll for the decoration ing, the ground is the first layer of
of the bindings of books. colour which is applied to the canvas
Groove. (Arch.) A hollow cut length- before the artist begins to paint his
ways in a plank or block of stone and picture.
Ground Floor. (Arch.) T h a t part of
a house which is on a level with the
Hamades. (Her.) A French heraldic ·< with the point and not the head of the
term applied to a design hammer.
consisting of three barru- Hammer-beaxu. A transverse beam
lets, coufied, that is to say, which projects some distance from the
three diminutive bars which wall and serves as a support to a rafter.
are cut off short so as not T h e hammer-beam itself rests upon a
to reach to the edge of the concave rib springing from the wall.
shield. Hammer-beams are always constructed
Hammer. A tool used in several in pairs, and their ends are often orna-
branches of art for striking or beating. mented with grotesque heads and other
T h e h a m m e r used by sculptors in marble curious devices.
consists of a block of iron almost cubi- Hammer-work. A method of making
cal in shape, mounted on a very short ornaments out of metal by striking it
when cold with a hammer. A plaque of
metal is cut into the shape required, and
the relief and modelling are beaten out
with a hammer. T h e term is applied
especially to silversmith's work, which
is beaten with a hammer, and the sur-
face of which is covered with innumer-
able facets resulting from the operation.
Hanap. A drinking cup of large size
handle. T h e surfaces of this hammer, which stands upon a foot.
which is of considerable weight, soon get Some hanaps have richly
worn into hollows by constantly striking chased lids, which are
the chisel. T h e hollows thus formed are masterpieces of decora-
sometimes filled up with melted lead, tive art. In the Middle
Ages hanaps were made
of precious metals, as-
sumed various forms,
ceived in the mystic symbolism of the " hanging committee," is charged with
Latin and Greek Churches respectively. the duty of hanging the pictures selected
Handle. T h e projection placed on the on the wall space at their disposal. T h e
neck or body of a hanging committee at the Royal Aca-
vase that it may the demy consists of eight academicians—
more easily be taken six painters, one sculptor, and an archi-
hold of. T h e handles tect. T h e latest elected academician
of decorative vases is always one of the committee as a
are often of consider- matter of course, and the others are
able size, and, in ad- chosen from the council of the Academy
dition to their practi-, in turn. T h e duties of a hanging com-
cal object, they serve mittee are extremely delicate, and it is
the purpose of break- not surprising that complaints on the
ing the outline and of affording an part of disappointed artists are fre-
opportunity for decoration. quently and loudly expressed.
Handrail. (Arch.) A moulding of Hangings. Strips of painted paper
wood or iron convex in outline, some- or stuff placed side by side and so ar-
ranged as to cover the surface of a
wall. In the Middle Ages and up to the
17th century tapestries and strips of
leather were used as hangings.
Hard. This term, applied to a picture,
denotes stiffness of drawing and harsh-
ness of outline. Hardness is characteris-
tic of the earliest masters as well as of
modern painters who adhere slavishly to
times with a sharp edge slightly pro- the teaching of academies and draw with-
jecting, which is placed upon stair-rails out feeling.
or balconies to form a support. Hand- Harp. A musical instrument, which
rails are made of variously-coloured
woods and are varnished and sometimes
inlaid.
Hand-screen. A small
provided with a handle.
Hand-screens generally
consist of a light frame
of wood or iron-thread,
on which is stretched a
piece of satin, decorated
with paintings in
g o u a c h e (q.v.). T h e
Japanese manufacture hand-screens in
large quantities, using for the purpose
bamboo canes, which they split and
stretch out in the shape of a fan and
then cover with drawings admirable in
colour and decorative in effect.
Hanging Committee. In the arrange-
ment of public exhibitions a committee
of artists, which goes by the name of the was known in the most remote ages of
195
HAR ART DICTIONARY. HAU
below the knee as shown in our cut. It Hawk Bell. (Her.) This is a little
bell of spherical form that
0 used to be attached to the
legs of hawks. In heraldry
these bells are sometimes
borne as separate charges on a shield,
but more often appear in connection
with the hawk, which is then blazoned a
hawk belled.
Head. T h e dimension or height of the
human head is employed as a measure in
painting and sculpture. T h u s we speak
of a figure measuring seven heads and a
half, by which we mean its height is
equal to seven and a half times the
height of the face and skull together
measured vertically.
Header. A stone or brick so placed in
a wall that its longer side is in the thick-
ness of the wall. [Bonder.]
Heart. In Christian symbolism the
heart occupies an important place. It is
is said to have been introduced about the the symbol of the greatest of the three
12th century. Christian virtues, Charity ; the symbols
Haunch, (i.) An anatomical term de- of Faith and Hope being the Cross and
noting that part of the os iliacum which Anchor respectively. It is the attribute
is articulated in the thigh bone, and of St. Theresa and other saints. A figure
generally in popular language the ex- of a heart surmounted by a flame, and
terior projection of this bone. known as the flaming heart, frequently
Haunch. (2.) (Arch.) T h e haunch of an occurs in religious decorative art.
arch is the part which lies between the When the flaming heart is placed in the
vertex of the arch and its springing. hands of painted or sculptured figures
Hauriant. (Her.) This term is used representing saints, it symbolises the
to describe a fish depicted Love of God. In the sacred art of the
upright on a shield, or, in Jesuits the flaming heart is the image of
heraldic language, a fish in the heart of Jesus, who is often repre-
pale with the head in chief. sented as parting his garments and
T h e word is derived from showing in the midst of his breast a
the supposition that the flaming heart. In architectural deco-
fish assumes this attitude ration an ornament frequently occurs
when rising to the surface to draw in which presents some resemblance to a
air. human heart. It consists of a com-
Hawk. (Her.) In coats of arms the bination of four curves or portions of a
h a w k is r e p r e s e n t e d circle.
perched on both feet upon Heavy. This term is applied in paint-
a horizontal beam. It may ing to opaque tones, to over-accentuated
be with or without a hood, outlines, and to figures without elegance ;
but like the falcon it has in architecture, to proportions and de-
as a rule jesses or ties tails which lack grace and lightness.
attached to its feet. Heighten. T o heighten a colour is to
197
HEL ART DICTIONARY. HEL
increase its intensity; to heighten the about the j ear 290 B.c. onwards, during
tone of an engraving is to add to the which the Macedonian kings were su
intensity of the blacks, and so to make preme and art nourished no longer in
the whites stand out as strongly as pos- Greece itself, but under the auspices of
sible. Greek artists in Alexandria and the cities
Heliochrome. (Phot.) A process of co- of Asia Minor.
loured photography which has as yet been Helmet. A defensive covering for the
but imperfectly developed. Its object is head, of leather or metal. It varied in
to obtain, after taking the plate from the successive centuries in form, shape, and
camera, a cliché or proof exactly repro- size. Sometimes it was nothing more
ducing the image formed on the polished than a sort of iron skull-cap [Chapelle-
glass. Unfortunately the colours which de-Fer], at other times it had a high ridge
have hitherto been obtained have been
so fugitive that it has only been possible
to look at them under cover of luminous
rays. T h e heliochrome proofs which
we see to-day are nothing more than
photographs taken by the ordinary me-
thod and coloured by some ingenious
process.
Heliography. T h e art of obtaining surmounted with plumes T h e crest or
by means of light ordinary photographic badge of the wearer was frequently dis
proofs. T h e term is especially applied played above the helmet. In heraldic
to a process of preparing steel plates by devices this very important piece of
photography, so that proofs may be armour is of frequent occurrence. It
struck from them just as though the may either be employed as an addition
plates had been engraved or etched in
the ordinary way.
Heliogravure. (Engr.) Heliographic
engraving. Among the most celebrated
processes of heliogravure that of Duj ar-
dui must fie mentioned. By this pro-
cess, with the aid of skilful touches,
facsimiles of drawings or engravings
may be obtained and transferred to
metal plates. When the plates have to the shield or as a common charge.
been subjected to aciérage, thousands In the latter case it is always represented
of proofs may be struck from them. as an esquire's helmet, that is, as a
Helix. A curve described on the closed helmet, seen in profile. When
„ . surface of a cylinder by a employed as an addition to the shield,
|ΓΤΛ point revolving round the helmets are placed over the coat of
11 l l i l cylinder in an upward di- ! arms and take different forms and posi-
ΙπΠ li'Ji rection. This curve is ap- ; tions according to the rank of the
1
|||LJj|fl plied in the construction wearers. T h e royal helmet is of bur
Jjjj j j § 8 ( ^ of spiral staircases within nished gold and stands on the shield
a circular or cylindrical l affronte, showing six bars to protect the
space. T h e term also denotes the vo face. T h e helmet of princes and peers
lutes of Corinthian capitals. of every degree is of silver, ornamented
Hellenistic. T h e term Hellenistic is with gold, while that of knights, esquires
applied to that period of Greek art from and gentlemen is of polished steel. T h e
198
HEM ART DICTIONARY. HER
helmet of dukes, earls, and marquises artisan, and working an anvil. The
ought to appear principal scenes in which he figures on
in profile on a painted vases are the fastening of Pro-
shield and to have metheus to the rock, the making of the
ten protecting armour of Achilles, and the splitting
bars. From the open of the head of Zeus at the birth
cuts which are of Athene.
given here a gene- Heptagon. A polygon of seven sides.
ral idea of the Hera. In Greek mythology Hera is the
various forms of the helmet may be queen of the heavens and the consort of
gathered. The helmet of an esquire or Zeus ; the deity who personified the fer-
gentleman has already been described. tilising properties of the atmosphere.
It appears in profile with the visor down. She was worshipped chiefly in ine spring,
Knights and baronets have the same hel- and the peacock and cuckoo were sacred
met with the visor up and without bars to her. T h e earliest images set up in her
An example of this is given in one of honour are said to have been simple
the accompanying cuts, surmounted by pillars with no resemblance to a human
an imperial crown. form, and for many centuries this holy
Hémicycle. (Arch.) A term applied to tradition prevailed. In the gold and
a hall, chapel, or apse built upon a semi- ivory statue of Polycleitus she was seated
on a throne and held in one hand a
pomegranate, the symbol of marriage,
in the other a sceptre surmounted by a
cuckoo. She is generally represented
as veiled, and thus she appears on the
Parthenon frieze.
Heracles. T h e son of Zeus and
circular plan ; to a mural surface of this Alcmena. H e was regarded by the
form ; or to steps placed one above the Greeks as the personification of strength
other in concentric circles. and athleticism, and a statue of him was
Hemisphere. T h e half of a sphere. set up in Gymnasia as an ideal to
Cupolas frequently as- which the athlete might attain. H e is
sume the form of a generally represented in art with a club
hemisphere, at the and a lion-skin, and the incidents of his
summit of which a cir- life and the arduous labours which he
cular opening is sometimes to be seen performed are favourite subjects with
Hephaestus. In Greek mythology the vase painters.
son of Hera and Zeus. H e was de- Heraldic Art. T h e art of blazoning,
formed at his birth, and according to the i e the art of explaining, describing, and
legend was hurled from Olympus by his representing the armorial bearings of a
mother, for whom in revenge he made noble house or province by means of
a chair, which held her in its grasp till special terms, conventional figures, and
he released her. H e was the god of in conformity with rules generally
fire and of the arts of the smith and adopted. This art took its rise about
potter, which depended on fire. H e was the time of William the Conqueror, and
besides the artificer of the gods and originated in the customs of the knights
fashioned the aegis of Zeus and the of the Middle Ages adopting a distinc-
armour of Achilles. In art Hephaestus tive badge or colour when they were
is represented as a bearded man, wearing engaged in jousts or warfare. After the
the chiton and pilos, the costume of an Crusades the knights who had distin-
199
HER ART DICTIONARY. HEX
guished themselves by their prowess this guise, but in later times terminal
adopted the badge which they had worn figures representing bearded gods or
during the war. T h u s in the coat of even philosophers were called Hermae.
arms of the Russell family, as it was On account no doubt of the great
before the Crusades (first cut), the chief antiquity of this form of statue, the
has no charge upon it, but after the Hermae were held in great honour, and
to desecrate them was regarded as a
serious crime. They were placed at the
corners of streets and served as land
marks or boundaries. By the Romans
they were employed in the decoration of
gardens or as pillars to break the
monotony of balustrades or walls.
Hermathene. A terminal figure, con
sisting of a pillar surmounted by the
head of Athene.
Hermes. In Greek mythology was
Crusades three escallops, the symbols the son of Zeus and Maia, who, first
of pilgrimage, were emblazoned in the honoured as the god of the animal
chief. In the 14th and 15th centuries kingdom, came to be regarded as the
t h e art of heraldry was finally developed protector of commerce. H e was the
and formulated, and after this period it messenger of the gods and watched over
began to decline. the welfare of h u m a n travellers. Hence
Heraldic Beasts. [Beasts, H e r a l d i c ] it was that the pillars placed at cross
Hermse. A name given to a particular roads were surmounted by his head and
kind of statue, which were called Hermae. His attributes are
consisted of a head a caduceus (q.v.) and a petasos (q.v.), or
or bust carefully winged cap, and he is represented as
modelled, set upon wearing wings on his heels. In ancient
a quadrangular pil works of sculpture H e r m e s is repre
sented as bearded and carrying a kid
on his shoulders and is then known as
Hermes Criophorus. [Criophorus.] In
works of the best period he appears some
times as a youth, sometimes as a child.
Herring-bone. (Arch.) In some walls
the bricks ο
stones are at <<r<<<
ranged in what is ^v^v
called a herring-bone pattern, i.e. the
courses are sloped alternately from left to
right and from right
lar, which as a rule to left.
tapered towards the Hexagon. A poly-
base. Sometimes a gonhavingsixsides.
single, sometimes a Terra-cotta tiles are
double head was set frequently hexa
on the pillar. T h e term is derived from g o n a l in f o r m .
the fact that in early times the god Mosaic pavements
Hermes was frequently represented in are often composed of hexagonal tiles of
200
HEX ART DICI ONARY. HIM
the same size, set simply one against the metopes of the Parthenon, some of
other without the intervention of other
tiles of different shape or smaller size.
Hexahedron. A solid figure having
six sides. T h e cube and playing dice
are examples of the hexahedron.
Hexastyle. (Arch.) A temple is termed
hexastyle when it has six columns in its
façade.
Hieroglyphic. Painted or engraved
letters used among the Egyptians. They
consist of typical representations of
figures, animals, stars, plants, & c , and
which was thrown over the left shoulder the Roman circus (q.v.), a raised wall
and fastened by a brooch, leaving the being constructed down the middle,
right arm free. T o wear the himation round which the horses or chariots had
with grace and ease was a mark of to turn.
gentle birth and refinement. Hippogriff. A fabulous animal ; a
Hinge. Two pieces of metal, or mov- winged monster, half horse and half
^ _ able wings, about a griffin.
SfSE^Q^Sr common axis, which Hippopod. A fabulous monster. T h e
t^^^^^^r allows them to de- figure of a man with the legs of a "horse
Β8 &
^ »«8ί *^ scribe a rotatory used in the composition of arabesques on
movement. Our first cut represents a friezes.
sample of the commonest pattern. Hip-roof. (Arch.) A roof the sides of
Sometimes, however, hinges are more which slope in different directions and
decorative. On cupboards - meet at the ridge is called a hip-roof.
and other pieces of furni- Sic
ture belonging to the last P^HBJll
century they are found with I f®]|
c
their shank terminated by ^JH
a small vase or button or 0 rBS|
even by a more elaborate I c Ί Η Β Ι
ornament. Our second cut ^ ^ J s P * 1
gives an example of this. T h e external angle formed by the two
Hip-knob. An end ornament or finial sides of the roof is termed the hip, and
placed on the point of a gable or on thethe timbers in the hip are termed the
top of a hip. hip-rafters.
Hippocentaur. A monster half horse, Historic Painting. T h e painting of
half man. T h e hippocentaur does not historic scenes, or scenes in which
historical personages are introduced.
T h e first historical painter was Poly-
gnotus, who decorated the Lesene at
Athens with scenes from the Trojan
War. In all probability, however, these
paintings were decorative and symbolic
rather than graphic, and if they were
now in existence they would scarcely
rank high as historic paintings. It is
in modern times that this branch of art
has been cultivated with the greatest
measure of success.
Honeysuckle Pattern. (Arch.) A
pattern frequently used in Greek de
corative art and termed honeysuckle as
differ from the centaur (q.v.), and the resembling the plant of that name.
term is used in contradistinction to Honourable. (Her.) This term is
ichthyocentaur, or fish-centaur. applied to certain ordinaries to distin
Hippodrome. Among the Greeks a guish them from the sub-ordinaries and
circus of large dimensions and oblong from other charges. T h e r e are nine
form, terminated at one end by a honourable ordinaries, the Chief, Pale,
circle arranged for chariot and horse Bend, Bend Sinister, Fess, Bar, Cross,
races. In some respects it resembled Saltire, Chevron.
202
HOO ART DICTIONARY. HUB
art which had grown up at the shrines of be, as it were, an epitome of the good
the saints. Whatever escaped their fury points in many individuals. Lucian in
was reserved only for the Puritans, the his description of Panthea gives us an
Iconoclasts of the 17th century. In this excellent illustration of what an ideal
age of tolerance and artistic apprecia- figure should be. For he imagines this
tion the spirit of Iconoclasm is happily paragon of beauty to combine all the
almost extinct. graces which the greatest sculptors of
Iconographie. T h a t which relates to Greece had expressed in their work. In
iconography. the familiar language of every day the
Iconography. T h a t science which in- word ideal has a slightly different mean-
cludes the study and description of the ing. Thus when we speak of a portrait
paintings, sculptures, and engravings of being ideal, we mean that the elements of
antiquity and the Middle Ages, and coarseness and commonplaceness which
especially the knowledge of portraits, may exist in the sitter's face are elimi-
images, busts, or statues. T h e icono- nated.
graphy of a celebrated person is a Idealise. T o render a scene ideal or
description of all existing portraits of poetical; to interpret it with a refined
him. sentiment ; to give a figure a noble
Iconology. A knowledge of the attri- attitude and outlines of the utmost
butes of mythological personages ; a purity; to draw a portrait and at the
study of emblematic figures, as well as the same time to ennoble the features of the
interpretation and description of works model.
of art. Sacred iconology deals with the Idealist. An artist whose works tes-
attributes and artistic representation of tify to his search after the ideal.
persons mentioned in the holy Scriptures, Ideography. A method of expressing
the lives of the saints, &c. ideas by signs representing the objects
Icosahedron. A solid figure presenting spoken of. Egyptian hieroglyphics are
twenty equal plane sides. T h e surface of a kind of ideographic writing.
a regular icosahedron consists of twenty Idol. A statue, often painted or gilded,
equilateral triangles. A large number representing a deity. Some Indian idols
of crystals are cut in the form of an are works of art of extraordinary beauty
icosahedron. and admirable workmanship.
Ideal. T h e Ideal in art is the supreme Illegitimacy. (Her.) T h e proper
or typical perfection, which only exists brisure or difference (q.v.) charged upon
in the imagination of the artist. T h e the arms of illegitimate children is the
ideal is individual. Each artist pursues baton which is a diminutive of the bend
his search for the ideal in his own way. sinister. This mark of difference is
But the ideal implies for the artist the popularly but incorrectly known as the
perfection of the type set before him, bar sinister.
whatever it may be. T o attain the ideal Illuminated. Adorned or decorated
is to approach as closely as possible to with illuminations. Brightly coloured;
perfection, relying all the time upon the clothed in a brilliant and striking
study of nature and interpreting it in colour.
an individual manner. T h e ideal of Illumination. T h e art of illuminating,
Michael Angelo is very different from i.e. of embellishing manuscripts with
that of Rembrandt and Velasquez, yet drawings in body colours and gold.
all three have left behind them master- T h e earliest illuminations were executed
pieces of very strongly marked charaçtei. in red lead, and later in cinnabar.
T h e ideal of a human figure cannot re- The art was practised from the 3rd
present literally one individual. It must century until the 17th, and monks
20Ò
ILL ART DICTIONARY. IMA
were especially skilled in illumination. illustrations have been executed on
Many specimens of illumination are still copper, stone, or wood. In addition
in existence dating from the Middle to illustrations in black and white we
Ages, and some have been reproduced sometimes find illustrations executed
by chromolithography. in colour by the processes of chromo-
Illuminator. An artist who executes lithography and chromotype. A decided
illuminations. T h e most skilful illu- tendency may be observed in the illus-
minators flourished in the 15th, 16th, trations of to-day to facsimile the sketch
and 17th centuries. There were also or drawing of the artist by the various
illuminators among the Greeks and mechanical processes based upon pho-
Romans. A manuscript of Vergil dating tography.
from the 4th century is preserved in the Illustrator. An artist who executes
Vatican. W e are told that the manu- drawings or vignettes intended to illus-
scripts executed by the Byzantine il- trate books or journals. From the time
luminators were marvels of art. T h e of Holbein to the present time, the list
gospel of Charlemagne (8th century) of talented illustrators would be a very
is to be seen at the Louvre. T h e art-of long one. Very many of our great
the illuminator decayed in the 10th artists, among whom we may mention
century, but in the 13th it increased in Fred. Walker, Millais, and Holl, first
variety and richness. Among the most won distinction in this popular branch of
celebrated illuminators we must mention art.
Jehan Foucquet (1416—1485), author of Image. A statuette or small repre-
"Les Heures d'Anne de Bretagne" and sentation of a living
later in the 17th century, Robert, who person. T h e classi-
executed in 1641 the garlands of flowers cal nations made
which formed a border for a text written images of their an-
by Jarry, entitled " Guirlande de Julie," cestors, which they
presented by the Duke de Montausier to regarded with a kind
Julie de Rambouillet. of reverential awe
Illustrate, To. T o execute drawings and carried in solemn
or engravings intended for the illustra- processions, such as
tion of a book. T o illustrate a volume funerals and triumphs. These images
is to furnish representations of the held the same place in the estimation of
principal scenes in the work and at the the ancients as is held to-day by genea-
same time to execute designs for logical trees, and many a Roman aristo-
borders, head-pieces, tail-pieces, and crat was as proud of having a large array
initial letters. of images in his house as Englishmen
Illustration. A term applied to the often are of having ' ' come over with the
coloured ornaments of ancient manu- Conqueror." Small images of various
scripts as well as to the engravings materials, representing the Virgin or
printed apart or the cuts inserted in the some other holy person, and generally
text which embellish modern books, and placed in a small niche, are frequently
are suggested by the subject of the work 'found in the churches or even in the
in which they are placed. From the homes of devout Catholics.
" Books of H o u r s , " the " Nuremberg Image-maker. A term applied in the
Chronicle" (15th century), and the Middle Ages to artists who carved and
" Dance of Death," down to the modern illuminated images. T h e thousands of
editions de luxe, an immense number statues which decorate Gothic churches
of illustrated books have appeared. are the work of image-makers. From
Varying with the taste of each epoch, the 13th to the 16th century image-
207
IMA ART DICTIONARY. IMP
makers generally followed their own griffin, but the wyvern and cockatrice are
inspiration. We can therefore institute often met with, and occasionally but
no comparison between the mediaeval more rarely the classical centaur, ne-
image-makers and the decorative sculp- reid, pegasus, and chimera.
tors of to-day. For the latter only work Imagines à Vestir. Wooden images of
to carry out a given design set them the Virgin and the saints set up in Italian
by the architect or the chief of the churches. Their heads, feet, and hands
works. It is this independence of the are finished with some care, while the
image-maker from control which ex- rest of them is only roughly blocked out
plains the originality, the audacity even and covered with vestments of costly
of much of the decorative work of the material and richly embroidered. These
Gothic period. In the 16th and 17th imagines present a curious parallel to
centuries there were indeed sculptors the rough images of deities which were
but no image-makers, and after this treasured in some Greek temples and
time the term is only applied to those richly draped, as the image of Athene in
who make childish images or carry out the Erectheum.
valueless designs. And so it has come Imbricated. (Arch.) A term applied
about that the word, which in the Middle to surfaces decorated with imbrications.
Ages designated a true artist, whose Imbrication. (Arch.) A method of
works, in being naïve, were none the d e c o r a t i o n con-
less meritorious, is nowadays only used sisting of thin
in a bad sense. plates placed one
Image-making. T h e art of making upon the other,
images, which was practised with much either in the form
success in the Middle Ages, but which of fish-scales or
did not until long after rank among the of small pointed jaggings, which partly
arts. T h e term is especially applied to overlap, like the tiles on a roof.
the manufacture of painted or gilded Imitate, To. T o copy ; to reproduce
statuettes generally placed on small by imitation ; to produce works in the
brackets and covered with a canopy. manner of a master or the style of a
Sometimes images of this kind are school.
arranged in the form of a diptytch or Imitation. Works of painting or
triptych. They generally represent sculpture are said to be executed in
Christ, the Virgin, and the saints. In imitation when, although they are really
the 14th and 15th centuries images were composed of a worthless material, they
made which opened and shut as re- pretend to be precious substances.
liquaries. In the 16th century figures T h u s we speak of an imitation of
painted in enamel at Limoges and else- marble, an imitation of bronze.
where took the place of representations Imitative Arts. This term is applied
of holy personages in relief. collectively to painting, sculpture, and
Imaginary Beings. (Her.) There is a engraving to distinguish them from
whole class of heraldic architecture on the one hand and from
charges consisting of ima- music and dancing on the other.
ginary beings, formed by Impale. (Her.) T o impale is to con-
piecing together various join two coats of arms side by side on
parts of different animals, one shield. This is frequently done in
as for example a cock with the case of husband and wife, while a
the head and feet of a goat. T h e most bishop's coat of arms is often impaled
common for heraldic purposes of these with that of his diocese.
imaginary beings are the dragon and the Impasto. (Paint.) An abundant appli-
208
IMP ART DICTIONARY. INA
215
JAC ART DICTIONARY. JAN
black and white, was produced there. be worn altogether in the reign of
T h e industry ceased at the beginning of James I.
the present century, and specimens of James, St., the Greater. Of James
Jackfield ware are now hard to come by. the Greater, the kinsman of Christ, we
Jack-rafter. (Arch.) A short rafter know little, except that he followed our
used in the construction of hip-roofs. Lord, and that after the crucifixion he
It is joined at the top with the hip-rafter was put to death with the sword. In
(q.v.), at the bottom with the wall plate. art he is generally represented with the
Jade. A mineral varying in colour attributes of a pilgrim, the staff, gourd,
from green to yellow and yellowish white. and scallop shell. Sometimes he bears
It is a species of nephrite, and may be a sword, the emblem of his decapita-
described as a native silicate of calcium tion. In Spain, where he is particularly
and magnesium. It is found in China, revered, an extraordinary mass of
America, and some islands in the South legends has gathered round his name.
Pacific. By the Chinese it is held in In the year 939 he is said to have
high estimation, and in spite of its tough- appeared on a milk-white charger to
ness carved into all sorts of forms. It is lead on the troops of King Ramirez to
never found in a natural state in Europe, achieve a brilliant victory over the
yet curiously enough jade celts (q.v.) Moors. So strong was the belief in the
have been found in Switzerland and by appearance of St. James on this occasion
Schliemann at Hissarlik. Their presence that ever since " Santiago " has been
in these localities is difficult to explain. the battle-cry of the Spaniards, and in
Jamb. (Arch.) T h e vertical uprights the pictures of the Spanish school St.
which frame an open- James is commonly represented as
ing, whether it be a mounted on a white charger.
window or door. T h e James, St., the Less. Like St. James
term is also applied the Greater, St. James the Less was a
to the uprights which kinsman of Christ, whom he is said to
support a chimney- have closely resembled. H e is said to
piece. T h e jambs have been the first bishop of Jerusalem.
of some mediaeval H e suffered martyrdom by being thrown
chimney-pieces consist of clustered down the steps of the temple and having
colonettes. his brains beaten out with a fuller's
Jambe. (Her.) This is the name usually club. In art accordingly he is generally
given by heralds to the leg or part of the represented as leaning upon a fuller's
leg of an animal when shown alone on club, and he is often to be recognised
the shield. If, how- on account of the striking resemblance
ever, the foot alone which his features bear to the accepted
appears, being cut or features of Jesus.
torn off below the se- Janus. A god much honoured by
cond joint, it is called the Romans, in whose estimation in-
a paw (q.v.). deed he rivalled Jupiter himself. H e
Jambs. Pieces of was particularly associated with the
armour which protect- beginning and ending of enterprises.
ed the leg. In the 14th In art he is represented as Bifrons,
century they were com- i.e. two-faced, and he generally holds
posed of cuir bouilly a key as a symbol of the opening and
(q.v.), but after the closing of undertakings. T h e worship
15th century they were of Janus was an ancient one at Rome,
always made of metal. They ceased to and it was the custom to open his
216
JAP ART DICTIONARY. JES
temple in time of war and to close it gradually disappeared after the intro-
in time of peace. duction of firearms. Its use now is
Japanese Paper. Japanese paper, chiefly ceremonial.
which is used in expensive printing, is Jazerine. A material used for armour
made from the bark of the tree called by- in the Middle Ages. It consisted of
botanists morus papi/era sativa. White plates of steel fastened on canvas and
Japanese paper is the best and thickest. overlapping. Its great advantage was
It is used for printing proofs of etchings its lightness.
and engravings upon. It is transparent Jerome, St. St. Jerome was one of the
and of a satiny texture, and the velvet Fathers of the Church, who died in 420
tones which result from the deep biting- A.D. In order to quell his fervid spirit
in of a plate come out admirably upon he spent some time in absolute seclu-
it. But it too quickly absorbs the sion in the wilderness. By some he is
ink, and when it is to be printed upon regarded as one of the founders of mo-
the plate must be more thoroughly nasticism, and he is represented in art
inked than when ordinary laid paper is more frequently than almost any other
used. saint. H e generally appears as an aged
Japanning. A process of painting and man, with a cardinal's hat (though this
varnishing, by means of which a smooth of course is an anachronism), and a lion
and brilliant surface is given to such by his side. T h e lion no doubt origin-
articles as trays, boxes, &c. It is ally symbolised the strong fiery spirit of
practised especially by the Japanese, St. Jerome, and having been accepted as
and is of service in decoration as it a symbol a story was required to explain
dries very hard and is unaffected by it. This story, which resembles the old
damp. fable of Androcles and the lion, ran that
Japonaiseries. A French term which one day St. Jerome was sitting in his
includes all objects of art and curiosity cell when a lion approached with a thorn
which come from Japan. in his foot. This thorn St. Jerome
Jar. (Pot.) A full-bellied vase of glazed removed, and henceforth the lion was
earthenware, sometimes with his constant companion. One of the
handles, sometimes without. most celebrated representations of St.
In ancient times earthenware Jerome is a print by Durer.
jars were, and in the East still Jesse, Tree of. A tree representing
are, hung by their handles or the genealogy of Christ as it is given in
necks on long poles and thus the Gospel of St. Matthew. T h e various
carried upon the shoulders. personages who form links in the chain
Jardinière. A vase of porcelain or of descent are placed on branches
metal, sometimes richly decorated, made stretching out from the tree. At the
to hold plants or flowers. bottom Jesse is shown in a recumbent
Jasper. A species of hard and opaque position, and at the top the Virgin and
quartz, out of which decorative vases, our Saviour in an aureole. Representa-
columns, and many other ornaments are tions of the tree of Jesse are frequently
carved. found, sculptured, painted, or embroid-
Jaune. [Yellow.] ered, in the ecclesiastical ornaments of
Javelin. A short spear, used as a the Middle Ages. This is not to be
missile. It has been employed by all wondered at as the subject is pecu-
nations, both savage and civilised, and in liarly adapted to decorative treatment.
all ages, and wherever it is found it is of Candlesticks also sometimes assumed
the same general form. In the Middle the form of a tree with branches, and
Ages it was a weapon of war, but hence were called Jesses. A very
15
217
JES ART DICTIONARY. JOG
218
JOH ART DICTIONARY. JUD
joint is called a joggle, in which both the placed horizontally to support a plank.
stones which are to be fitted together are In the Middle Ages and during the
indented. A joggle in masonry resembles period of the Renaissance the joists of
what in carpentry would be termed a
rebate (q v.). .litìgi
John, St. In the earliest examples of
Christian art St. John with the other
evangelists was symbolised by a scroll,
or by a river flowing from a rock. [Evan-
gelists.] Somewhat later he was repre-
sented by an eagle. Later on he
generally appears as a handsome beard-
less youth, with brown or golden hair. ceilings remained in view and were
An eagle stands by his side, and in his sometimes carved. In some Gothic
hand he holds a chalice, from which a buildings we find joists with the end
serpent crawls, in allusion to his having
driven poison from a cup. T h u s he is
represented by Raphael. As the exile
of Patmos and the writer of the Revela-
tions he is represented as an old and
bearded man writing upon a tablet.
H e generally wears a blue or green tunic
and a red robe.
engaged in the wall roughly fashioned
Joint. (Arch.) A small space left into the head of some monster, while
between the stones or bricks of a wall or the horizontal part is cut level, so that
other construction, which is filled with
mortar or cement, so as to bind the
colours, cut into shapes and pieced to series of portraits of the members of the
gether, so as to form decorative designs. Kit-cat Club were painted by Kneller of
Khmer. A name given to the archi this size to fit the walls of Tonson's villa
tectural monuments of ancient Cam at Barn Elms, and canvases and por-
bodia, which in their profusion of traits of these dimensions have been
decoration and their striking originality called Kit-cat ever since. T h e Kit-cat
have an obvious connection with Hindoo Club was an association of politicians
art. and litterateurs who favoured the Pro-
Kiln. (Pot.) A cylindrical oven, placed testant succession, and was established
vertically, in which faience and porce in 1703. Its meetings took place at the
l l i ' I B dh ^ a * n a r e baked. P i e c e s " C a t and the Fiddle," in Fleet Street,
^PF^Pf^Pr ο ί S r e a t v a m e a r e baked kept by Christopher Kit, from whom it
'Mr I p B I B separately in cases of took its name.
II IIB !• terra
- c o t t a , called seg- K n e e - r a f t e r . (Constr.) A rafter the
W^llrollêr 8ars' so as to ^e i s °l ate ^ lower end of which is bent or curved, so
^ ^ f i r ^ P i p Î ' from one another. In that it may fit in more securely with the
baking china three processes are neces- wall below it.
sary : the first that of firing, which Knocker. (Arch.) A piece of metal
changes the clay into biscuit ; the second fixed on to the door. Ancient knockers
that of glazing ; the third that of fixing vary considerably, according to the
the colours. Great care must be exer- period to which they belong. In the
cised that the pieces of china are not Gothic period they frequently represent
exposed to too great heat. T h e degree a fantastic animal. After the Renais-
of heat which any piece can stand sance they were very elaborate both in
depends on the colours employed in its design and execution. In the 17th and
decoration, some colours volatilising at 18th centuries a purely decorative form
a lower temperature than others.
King-post. (Arch.) A vertical piece of
timber placed in the middle of a truss
(q.v.), resting at its lower end on the
cross-beam, so as to support the ridge,
where the principal rafters meet. King-
posts may be seen in gable-ends as well
as in open-timber roofs.
Kiosque. (Arch.j An ornamental
pavilion placed
in a picturesque 4
situation. A 3? of knocker became universal, whereas in
small circular ^^y^^w^ the previous century knockers had re-
or p o l y g o n a l DIW^^HB presented capricious, and fantastic,
construction ΦτΓ 1ϊ¥ scenes, in which the figures of both men
surmounted by JJL >liflt and animals were treated with extra-
a small dome, ÎSSèi iSSM ordinary skill. Several celebrated
such as the pa- ^S^tfe^î artists have at various epochs produced
v i l i o n s fre- Jtijljjjjjpr' t3ga&Î&^ knockers, which are to-day considered
quently met * as works of art and treasured in
with in Turkey. museums.
K i t - c a t . A term denoting a canvas of Knot, or Knob. (Arch.) A term
a particular size, used for painting por- applied to any architectural ornament
traits not quite three-quarter length. A which is round in shape, whether it
222
KNO ART DICTIONARY. LAC
consist of foliage, flowers or even a son to distinguish his arms from those
of his father. It JQgn^pnQ^
consists of a bar "*"** Λ,
with three pendants or points, and is
placed across the shield in chief. On
the death of the father the son of course
removes the label from his arms. T h e
arms borne by the present Prince of
Wales as heir to the throne are : the Arms
of England differenced with a Label of
three points argent ; over all, on a shield
of pretence, Saxony.
Labyrinth. (Arch.) An Egyptian
palace, consisting of a number of build
ings and courtyards surrounded by
sculptured head. [Cul-de-Lampe.]
walls, so arranged as to be impenetrable
Knotted. (Her ) This epithet is
and to mislead the uninitiated who
applied in heraldry to rough
ventured within. Subterranean laby
branches or trunks of trees
rinths were used by the early Christians
shown on shields, For ex
as places of worship on account of their
ample, the cut would be
safety. A garden labyrinth consists of
blazoned gules, a knotted
winding walks, bordered on each side
staff in bend argent.
with a close hedge, all of which com
Kylin. An animal somewhat resem
municate with the centre, but go off in
bling a dragon and covered with scales,
different directions, so that it is not
frequently depicted on or forming the
easy to keep the correct path.
subject of pieces of Chinese porcelain.
It is of good omen. A system of decoration called laby
rinth, consisting of variously coloured
marbles forming inter-crossed lines at
right angles to one another, is some
times used in the pavements of French '
cathedrals. T h e labyrinth on the pave
Labarum. A Roman standard bearing ment at Chartres is particularly famous.
upon it the Lac. A very solid varnish, frequently
sacred seal employed in China and Japan for the de
of Christ. coration of furniture and other objects.
[Chrism ] Be It is a resin obtained from certain trees,
fore the time the A ngia simensis and Thus vernix, and
of Constantine is applied in a liquid state and in several
the labarum layers to the trays, boxes, or furniture
was decorated which are to be lacquered. [Lacquer.]
with an eagle, but after the conversion Lace. An open-work textile fabric,
of that emperor the chrism was adopted. consisting of very fine meshes, which
T h e labarum, which was the banner car are arranged in systems of ornament.
ried in war before the Roman emperors, T h e ancient lace of Malines and Alençon
was purple in colour, bordered with gold as well as Venetian and English point-
and ornamented with a fringe and lace is much sought after, and may be
precious stones. classed among artistic objects of the
Label. (Her.) This is a mark of greatest value and rarity.
difference or cadency borne by an eldest Lacerna. A loose garment worn by
223
LAC ART DICTIONARY. LAC
the Romans over the toga. It was open a she-goat. In the works of Roman
in front and fastened under the neck by sculptors fauns are frequently repre-
a brooch. It fell behind in ample folds sented with lacinia and the pointed ears
and had a hood, which could be used to of a goat, as in the cut engraved here.
La co ni cum. A semicircular chamber
in the baths of the Greeks and Romans,
which was heated by flues, and resem-
bled a modern Turkish bath.
Lacquer. A coloured and opaque
varnish applied to the smooth surface
of boxes, articles of furniture, &c. It is
so called because its base is a resinous
substance called lac. Lacquer work of
the highest excellence has been pro-
duced in China and Japan, some pieces
of relief-lacquer taking many years to
finish. T h e process of lacquering is as
follows. T h e wood to be lacquered is
planed smooth and then covered with
a mixture of powdered red sandstone
and ox-gall. This coating is dried and
polished and then covered with a layer
of lacquer. T h e lacquer is dried slowly
conceal the face. It was probably in a damp-room and then polished with
borrowed from the Gauls, and only came slate. A second coating of lacquer is
into use in the later days of the then laid on and the drying process
Republic. In the period of the Empire repeated, and so on with the third and
it was a common garment both for civil fourth coating. A piece of lacquer work
and military personages. always has more than three coatings,
Lachrymatory. A name given to and some are known to have received
certain vases, elongated in form and of eighteen. When a perfectly hard and
small dimensions, used by the Romans polished surface is obtained, the lacquer
to hold the sweet-smelling oils with is painted and finally mounted.
which they perfumed the funeral pyre. —, Aventurine. Aventurine lacquer-
Their name was given to them because work is of a reddish brown colour and is
it was erroneously thought that they spangled all over with particles of gold,
were intended to hold tears. which glitter the more the nearer they
Lacinia. A term applied to the are to the surface. It is used for large
cabinets &c.
—, Black. This is the lacquer most
commonly in use, and is seen in pieces
of furniture as well as in small boxes of
exquisite workmanship. Its value of
course depends on the number of its
coatings and the polish imparted to its
surface.
— on Gold Ground. T h e most costly
lacquer work is on a gold ground. Pieces
of this class are always small and gene-
excrescences in the neck or throat of rally in high relief. T h e effect is some-
224
LAC ART DIC FIONARY. LAM
are generally blazoned, and they may be from one another. T h e Early English
in pile, en saltire, accosted, <&c. In the style is sometimes termed the Lancet
hand of Pallas the lance signifies strength style.
and foresight. In Christian art it is Landscape. (Paint.) A picture repre-
the symbol of St. Matthew and of St. senting a view of natural scenery, in
Thomas, as well as of many lesser and which the interpretation of nature is the
later saints. predominant feature, and in which
Lance. (3.) (Arch.) As a system of figures of men or animals are only
ornament the lance is widely introduced as accessories, to give a tone
used. It most frequently of reality to the scene or to furnish a
forms the head of the iron scale of dimensions.
bars, which make up a rail- —, Historic. A landscape, the subject
ing. T h e finest specimens of of which is not copied exactly from
lances are to be found in the nature, but is composed in accordance
iron work of the 17th and with the taste of the artist. Into
18th centuries. historic landscapes, ruined temples,
Lanceolate. Any orna- statues, and vases are frequently intro-
ment, architectural or other- duced as well as figures, which give the
wise, which is shaped like a lance, is scene an air of fable or ancient history.
termed lanceolate. T o this class belong the majority of
Lance-rest. A contrivance of iron Claude's landscape as well as several of
fixed on the breastplate to support the Turner's.
lance. In early times it was nothing — Painter. An artist who devotes
himself to the interpretation of nature.
Among the great land-
scape painters of the
world we may mention
Ruysdael, Hobbema,
Rembrandt, Poussin, and
Claude, and belonging to
a later date, Constable
and Turner of the English
school, and Corot, Rous-
seau, Daubigny, and Cour-
bet of the French school.
Langue-de-bœuf. A
more than a hook, but by the 16th weapon the broad blade
century it had been elaborated into of which was supposed to
the queue-shaped rest seen in our cut. resemble an ox's tongue.
Lancet. (Arch.) A long narrow It was fixed in a long staff
pointed arch used and was carried by body-
in the architecture guards. It was rather a
of the 13th and sign of dignity than an
14th centuries. It implement of war.
is particularly Langued. (Her.) This
characteristic of term is used to blazon the
what is called the tongue of an animal when
Early English style (q.v.). T h e lancet this member is shown pro-
arch consists of two arcs of circles the jecting and is of a different
centres of which are at a great distance tincture to the rest of the animal's head.
228
LAN ART DICTIONARY. LAO
Lapidary. An artisan who cuts and thin. Thus we say of an artist that he
engraves precious stones, or who places has a large touch ; of draperies, that
them in a setting of gold or silver. In they are largely treated.
another sense an inscription engraved Larmier. [Corona ]
upon a stone may be termed a lapidary Larvae. As the Lares (q.v.) were
inscription ; hence the concise and supposed to be the souls of the good
solemn style of memorial inscriptions departed, so the Larvae in the religious
engraved on public monuments has system of the Romans were regarded as
been termed the lapidary style. the spirits of those whose crimes on
Lapis-lazuli. An opaque blue stone, earth had entitled them to no rest after
veined with white, used in the decora- death. They were invested with no
tive arts, especially in the adornment of material form and so are not repre-
some kinds of expensive furniture. sented in art.
Lapithae. T h e Lapithae were a Last Judgment, The. T h e subject of
mythical race of Thessaly, the most Christ come to judge the world was
celebrated among them being Ixion and frequently treated by Italian painters.
Peirithous. Ixion, for presuming to For some reason or other it was never
harbour a passion for the goddess Hera, attempted in early Christian art Among
was punished by being bound to an ever- the most celebrated representations of
revolving wheel. T h e most famous the Last Judgment we may mention
incident in the life of Peirithous was his those of Luca Signorelli at Orvieto and
marriage with Deidamia. His kinsmen, Michael Angelo's great design in the
the Centaurs, were invited to the Sistine Chapel.
marriage feast, and after the banquet Last Supper, The. T h e Last Supper,
attempted to carry off the bride. T h e n or Christ supping with his apostles the
followed the battle between the Lapithae evening before the passion, is a favourite
and Centaurs, which was one of the subject with artists of all schools, and is
favourite subjects of Greek sculpture. constantly represented in frescoes, pic-
We find it represented on the metopes tures, and bas-reliefs. T h e Last Supper
of the Parthenon, the frieze of the by Leonardo da Vinci is perhaps the most
Theseum at Athens, and on the celebrated work with this incident for
western pediment of the temple of Zeus its subject. In the majority of pictures
at Olympia. It also forms the subject representing the Last Supper Christ
of countless Greek vases. wears a nimbus, as do all the apostles
Lararium. A shrine or chapel in except Judas, who is never represented
which the Romans placed images of the nimbed
Lares and Penates, or household gods. Latch, (i.) (Arch.) A small shank of
Lares. In the religion of Rome Lares metal on a door, which by its own weight
were guardian angels supposed to be falls into a socket placed on the door-
the spirits of deceased persons, one of post to receive it, and forms an efficient
which protected every Roman house. means of keeping a door closed.
An image of a Lar, in the form of a Latch. (2.) A name given to the cross-
youth crowned with laurel, and holding bow (q v.) in the 16th century.
a horn of plenty and sometimes a patera, Lateral. (Arch.) A term applied to
was reverently kept in the lararium (q v.), anything situated on the side of a build-
where sacrifices were offered in its ing ; thus we speak of lateral openings—
honour. meaning openings on the side of a
Large. (Paint ) A term used of the principal opening—lateral chapels, &c
free, ample treatment of a subject in Lath. (Arch.) Long thin slips of oak or
painting, in opposition to paltry, timid, | fir used in roofs, wainscoting, &c.
230
LAT ART DR riONARY. LAY
231
LAY ART DICTIONARY. LEA
the laws of anatomy and bearing the most simple leading assumes the lozenge
structure of the h u m a n skeleton. T h e pattern. Sometimes leadings present
articulated joints allow them to assume patterns consisting of complicated poly-
every attitude. T h e lay-figure is chiefly gonal combinations.
used for hanging draperies upon, for Lead-pencils. Ordinary lead pencils,
thus the artist is enabled to study the used for drawing or jotting down hasty
folds at greater leisure than he could sketches, consist of a small rod of plum-
from the living model. At the same bago enclosed within a piece of cedar-
time it is dangerous to copy too slavishly wood. They are cut sharp with a knife,
the attitudes of the lay-figure, for its and the lead may have a fine point put to
outlines must always be harder and it by rubbing it on emery paper. Lead
cruder than those of the living model. pencils of a very fine grain are made
Lay t h e Ground, To (Engrav.) T o from the graphite of Siberia.
cover a copper plate with a grain or Lead-plate. A thin plate of lead is
file-like ground by the use of the cradle often placed in the joints of a wall or at
«or rocker (q.v.). This instrument is the base of statues set on pedestals, in
held firmly in the hand and then rocked order to fill up the inequalities of the
to and fro, by which process an indented stone and so to render the adherence
furrow is made across the plate. This and therefore the stability more com-
is repeated until the plate is covered plete.
with parallel paths or ways and a grain Leaf. (1.) (Arch.) T h e leaves of a table
of the proper texture is obtained. are the separate pieces of
Lazurline, or Lazurstein. A brilliant timber of which its sur-
blue pigment obtained from lapis lazuli, face is composed. A
generally known as ultramarine (q.v.). table may be increased
Lead. A heavy malleable metal which or decreased in length by
has been employed for a variety of archi- the addition or removal
tectural and artistic purposes. It has of a leaf. T h e rectangular
been especially used in roofing buildings piece of timber which forms a door is
and in making épis (q.v.) and girouettes termed a leaf. T h e leaves of a folding
(q.v.). Statues intended to serve as door are t h e two portions which meet
garden decorations have been success- together when the door is closed.
fully cast in it. Some pigments, such Leaf. (2.) A system of ornament re-
as white lead and chrome yellow, have presenting a leaf,
lead as a base. They are, however, of IMffViSlliP'1!' treate
d sometimes
little service to the painter, for not only ÎijWinll //TroÎ! realistically, some-
do they easily tarnish themselves, but times in a conven-
they adversely affect other pigments tional spirit. It
with which they come in contact. may be applied to
L e a d i n g . (Arch.) Thin strips of lead a moulding and re-
peated along its whole length, or may
decorate the bell of a capital. Decora-
tive leaves sometimes project consider-
ably from the ground upon which they
are worked, sometimes they are only
sketched in outline. [Foliage.]
—, Acanthus. T h e leaf of the acan-
thus is constantly used in decorative
sculpture. It is generally represented
inclosing small panes of glass. The turned back, so as to form a kind of
232
LEA ART DICTIONARY. LEA
volute, and it is especially characteristic Gothic architecture their tips curve over
of the Corinthian and Composite orders so as to form crockets, as in our cut.
of architecture. [Acanthus.] Leaf, Olive. An ornament consisting
Leaf, Angle. A leaf placed at the angle of the leaves of the olive-tree, usually
formed by two arranged in bunches of five leaves.
mouldings, such —, Parsley. Small thin leaves, which,
as the angle of a like the acanthus leaf, enter into the
ceiling cornice decoration of the Corinthian capital.
The centre nerve —, Thistle. An ornament sometimes
of the leaf gene- found on capitals of the 15th century.
rally coincides —, Water. A leaf of undulating form
with the angle of the moulding, and the and unbroken border, which is employed
two portions of the leaf are arranged to decorate mouldings or surfaces of a
symmetrically one on each face of the considerable size. It is also frequently
moulding. employed in iron-work, especially to en-
—, Cabbage. This leaf was employed
as an architectural ornament in the 15th
and 16th centuries. T h e crockets which
decorate gable-ends are often formed of
cabbage leaves, in the execution of which
with the chisel the artists of the Middle
Ages displayed extraordinary skill.
—, Fig. T h e leaf usually employed
KlAUAl^^
to cover the nudity of statues. Where
this has to be done it is far better that the rich the front of balconies, in which case,
sculptor should do it himself with flying however, leaves of a more strongly
draperies or other accessories, if indeed marked outline are used to relieve the
he can do it without making his purpose dryness of the usual spirals and scrolls.
painfully evident. T h e use of the fig- Leaning-place. (Arch.) T h e portion
leaf is in all cases a clumsy expedient, of a wall included be-
dictated by a spirit of ignorant prudery. tween the ground and
—, Laurel. An ornament consisting the window-sill, together
of the leaves of the laurel, generally with the sill which sur-
arranged three together. mounts it. In buildings
— of a Fan. A piece of paper, parch- of the Gothic style lean- ï1*
ment, or satin, ing-places are called alleges (q.v.).
cut in the form Lean-to. (Arch.) A shed or roof with
of two portions
of concentric
circles and
b o u n d e d by
two radii. Upon the leaves of fans
water-colour drawings or gouaches are
often executed.
— of a n En-
|||i\' tablature. A term
applied to rows of
leaves which de-
corate an entabla- a single slope fixed to the wall of a
ture or separate two mouldings. In building by its upper edge. T h e term
16
2
33
LEA ART DICTIONARY. LEC
is also applied to buildings which have either to catch the water which was
a roof arranged on this plan. poured from a jug over the feet and
Leather. T h e skins of animals tanned hands after meals, or as a caldron, in
and hardened have been used exten-
sively for decorative purposes In the
Middle Ages a specially prepared leather
under the name
of cuir-bouilly
(q.v.) was used in
making portions
of armour, cas-
kets, &c. This
was stamped when in a soft state and
richly ornamented. In the 16th century
leather was used as hangings for rooms.
These hangings were stamped with or-
nament and their beauty enhanced by
gold and silver leaf. Leather cut and
twisted into volutes was used from the
16th century onwards as a frame for which to boil meat. T h e cuts we give
cartouches, &c. Stamping is not the here represent specimens of the lebes
only process by which leather is orna- used for the latter purpose.
mented. Figures in relief were some- Lectern. A portion of church furni-
times chased upon it, and pieces of ture placed in the choir and forming a
leather thus decorated are often very single or double reading-desk. It gene-
beautiful and costly.
—, Cordova. Strips of leather orna-
mented with figures cut in low relief
and either painted or gilt. In modern
times many imitations of Cordova leather
are produced by stamping, and used, as
were the genuine materials, as hangings
or chair-covers.
Lebes. A large vessel of swelling form
Delphi, where the lesche was decorated glass bottle filled with coloured water is
with pictures representing the sacking placed at each end. A line drawn from
of Troy and the visit of Odysseus to the the eye of the observer over the surface
Shades by the great Polygnotus himself. of the water in the bottles, serves to de-
Letter, Before. [Proof before letter.] termine a horizontal line.
Letter, Ornamental. A decorated or Library. (Arch.) A term applied to a
illuminated letter. Ornamental letters, room in which books are arranged in
most frequently used as initials to chap- shelves, or to a public building which
ters, are often painted in mediaeval serves the purpose of a storehouse for
manuscripts. In printed books orna- books and provides accommodation for
mental letters are used, and are either readers.
drawn and engraved on wood or repro- Lichaven. A dolmen which has only
duced by some chemical process. These t w o s u p p o r t i n g
afford great scope to the talent of the stones. T h e name
artist. In their simplest form they are of trilith is also
only initials of a large size surrounded given to these dol-
by ornaments. T h e more elaborate mens because they
among them, however, are vignettes, in are formed of three
which the letter is ingeniously woven out stones, two being
of the attributes or figures in the design. placed vertically
Lettered. [Proof, lettered.] and buried in the ground, the third
Level. A right-angled triangle of wood forming a table and being placed hori-
or iron, two sides of zontally.
which are accurately ad- Lich-gate. (Arch.) This term, which
justed. A plummet is is derived from the Anglo-Saxon lie, a
suspended from the apex body, denotes a shed or roof placed over
of the triangle, and if the a churchyard gate. T h e bearers of a
ine which is to be verified is perfectly coffin sometimes deposited it here on
horizontal, the thread ought to divide the their way to the interment. It is also
cross-bar which forms the hypotenuse of called corpse-gate.
the triangle into two equal parts. T h e Licked up. (Paint.) In studio slang,
level is used by workmen of every class a picture is said to be licked up when it
—masons, carpenters, and cabinet- is precisely and minutely painted, and
makers. It is the symbol of equality, when the artist has set himself to conceal
and is thus figured in emblematic tro- the marks of the brush as well as the
phies. effect of the colour freshly laid on. In
—, Spirit. A level consisting of a tube fact, the surface of a picture thus licked
filled with spirit and up is actually polished with a flat brush.
slightly curved. A T h e term is only used in a bad sense ; at
bubble of air is left the same time licked-up pictures con-
in it, which occupies stantly delude the public by their ap-
the exact centre of the tube when the parent finish.
level is placed on a perfectly horizontal Lierne. (Arch.) A Heme in a vaulted
surface. compartment is the rib
—, Water. A running along the apex
^ tube of iron the ex- of the vault from boss to
tremities of which boss. Liernes are found
are bent so as to be in pointed vaults, and
at right angles to were used principally
the main body of the tube. A small about the middle of the 15th century.
236
LIF ART DICI i t ? ^ £ 7 . LIM
Life-size. A term applied to any work resembled a huge funeral pyre, and
of imitative art which represents its c o n s i s t e d of s e v e r a l A
subject in its actual dimensions. truncated pyramids jB
Light. (Paint.) The quality which is placed in retreat one Jjj$
possessed by the most luminous part of above the other. Colos- JJBL
a picture, drawing, or engraving in con sal figures have some- φ3Ε
tradistinction to those parts which are times taken the place of j IJ
relatively obscure and so said to be in a lighthouse. Such was J4a
shade (q.v.). T h e term is also applied the famous Colossus of I ||
to the way in which the luminous por Rhodes, and such is the Ι Μ
tions of a picture are rendered. T h u s great statue of Indefien- H'l"*%
we say of a picture that it lacks light or dence, executed by Bar- ΐΪΓ|
that its light is well distributed. Light tholdi, which stands at / ΏΛ
also denotes the way in which pictures the entrance to New r
^^S3MM^k
themselves should be lighted in a studio York Harbour. In such **^
or exhibition gallery, so as to appear to cases as these a lantern or beacon must
best advantage. Thus we may describe surmount the figure.
a picture as being in a good or bad light. L i g h t s , (i.) (Paint.) T h e lights in a
As a general rule a top light is best for picture are those parts where the light
pictures, as this produces the smallest falls with the most brilliance. A strong
number of reflections on the surface of effect is obtained by making those parts
the canvas. For seeing sculpture, the to which it is desired to give promi
angle formed with the horizon by the nence the lights of the picture.
luminous rays ought not to be more L i g h t s . (2.) (Arch.) T h e architectural
than forty-five degrees. term for thé divisions of a window be-
—, Red. (Paint.) A pigment produced tween the mullions. T h u s a window
from sulphate of iron or from yellow may consist of three, five, seven, or
oxides of iron burnt. It is permanent more lights.
but should not be mixed with colours, Lily. T h e symbol of purity and inno-
which are adversely affected by iron. cence. In representations of the Annun-
—, Secondary. (Paint.) A term ciation (q.v.) it is always to be seen,
applied to a glimmer of light which is either in the hand of the angel Gabriel
only accessory in the lighting of a or placed in a vase.
painted scene. T h u s if in a moonlit Limbus. A border worn on the gar-
pasture a shepherd is seen advancing ments of both men and women among
lantern in hand, this lantern, which the Greeks and in a less degree the
throws a light over a part of the canvas,
bears the n a m e of a secondary light, as
opposed to the rays of the moon,
which is the principal light of the pic
ture.
Lighthouse. (Arch.) A tower, turret,
or other lofty construction, built upon
the sea-coast or on the bank of a large
river, and carrying a powerful lamp at
the top, which serves as a guide to
sailors. At the entrance of the harbours
constructed by the Romans a lighthouse Romans. It assumed a variety of
was generally built in imitation of the patterns, many of which resembled
great lighthouse of Alexandria. This architectural mouldings. Représenta-
*37
LIM ART DU TIONARY. LIN
tions of the limbus are frequently found ferred to a copper plate ; it is then cut
on Greek vases, from which our cuts in with a sharp tool called the dry-point.
have been taken. T h e lines thus slightly cut in are empha-
Limestone. A hard finely-grained sised with the graver (q.v.), and when the
stone used in building. work of the graver is finished the plate
Limoges Enamels. [Enamels, may be printed from. T h e resources
Limoges.] at the disposal of the line engraver are
— Faïence. T h e manufactory of fai- few. H e has only lines of different
ence at Limoges was founded in the year lengths and at different distances from
1773 by Massié. Early pieces of this one another, aided by dots and cross-
ware are rarely met with and are con- hatching, with which to reproduce the
sequently very valuable. After passing tones and values of his original. Many
through many hands the manufacture line engravers to lessen their work
languished, until in the present cen- have used etching (q.v.), not only to
tury it received fresh impetus from get the first sketch of the original on
American enterprise. their plate, but also in the later stages
Line. (1.) (Paint.) T h e great ambition of their work. T h e labour involved in
the process is very considerable, and it
is not surprising that in modern times
the art has considerably declined.
Samuel Cousins, the last great line
engraver of England, is recently dead,
and has scarcely left any one to take his
place.
— of Beauty. A term applied, in
that he is on the line, or that he is hung accordance with a certain artistic theory,
above it. It is the privilege of Acade- to a graceful, curved, or undulating Ime
micians to have a certain number of —sometimes quite mannered—outside
pictures on the line every year. which, it is said, there is no line really
Line (2.) T h e contour of a figure. T h u s beautiful and worthy of admiration.
we speak of a figure which possesses
great purity of line. If we say of an
artist that he has sacrificed line to
colour, we mean that he has allowed his
colour to predominate over his design.
—, Dotted. A line formed of a series
of round points or small strokes regu-
larly spaced, which are used on a plan
to indicate axes, invisible lines, or direc-
tions.
—, Horizontal. T h e line of intersec-
tion between a horizontal and a vertical Hogarth was the first to formulate the
plane. In perspective the term is theory of the serpentine line or line of
applied to all lines parallel to the beauty, which he did in two large vo-
horizon. lumes. H e placed his line of beauty on
— Engraving. That branch of engrav- a palette underneath his own portrait
ing in which the design to be copied is and it is here engraved.
reproduced on copper by incised lines — of Level. T h e line which determines
T h e process is as follows. T h e drawing the horizontal position of two points' at
to be reproduced is traced and trans- some distance from one another.
238
LIN ART DICTIONARY. LIO
243
LOW ART DICTIONARY. LU K
Low-relief. An expression synonom- met with in the Romanesque style. T h e
ous with bas-relief, denoting sculptured term is also applied to plates of metal
ornaments which have but a slight pro- cut out in lozenge patterns, which cover
jection. [Bas-relief.] the roofs of spires, domes, cupolas, &c.
Low-side Window. (Arch.) A small Lozenge. (3.) (Her.) T h e lozenge is a
window which is frequently to be seen diamond-shaped quadrilateral figure,
at the west end of the chancel in Gothic and is one of the heraldic
churches. It was low down in the wall subordinaries. It must be
near the ground and had no glass in distinguished from the fusil,
it, being closed either with bars or which is much more taper-
shutters. It is said to have served ing in form, and also from
some ecclesiastical purpose in the time the mascle and rustre, which
before the Reformation, but if it did are always pierced. When ^
so this purpose has long been for- the whole field of an escutcheon is
gotten. covered with lozenges, as in the cut, it
Low-warp. A process of weaving is said to be lozengy.
tapestries in wool or silk, in which the Lucarne. [Arch.] A window which
warp is horizontal, the warp being ver- projects vertically from the
tical only in high-warp tapestries. T h eslope of a roof. It assumes
principal advantage in the process con- different forms, which are
sists in the relative speed in the work described under the varie-
and consequently in its cheapness com- ties of Dormer (q.v.).
pared with the high-warp process. On the Lucia, St. A Syracusan
other hand, low-warp is inferior to high-saint who suffered m a r t y r - ;
warp tapestry from the point of view of dom in A.D. 303. She determined at
style. But this inferiority does not strike
an early age to dedicate herself to the
the untrained eye, and it is only by minute
Lord, and suffered terrible persecution
details that it is possible to distinguish
at the hands of the Roman governor,
the two methods of manufacture. T h e being stabbed to death with a poniard.
low-warp process is exclusively em- T h e commonest legend concerning her
ployed at Beauvais and Aubusson, is, that, not wishing to marry the youth
while the high-warp has always been to whom she was betrothed, she plucked
regarded as the privileged process of theout her eyes and sent them to him on a
Gobelins. salver. Whereon he is said to have been
Lozenge, (i.) A geometri- at once converted to Christianity and she
cal figure having four equal to have recovered her sight. Most repre-
sides. Its opposite angles are sentations of St. Lucia are suggested by
equal, two being obtuse and this legend, for in pictorial art she
two acute. generally holds her eyes on a salver.
Lozenge. (2.) (Arch.) A name given Her other attributes are the palm of
to certain sculptured mouldings which martyrdom and a poniard, with which
she was put to death. She is the patron
saint of the blind.
Luke, St. T h e disciple and companion
of St. Paul. Tradition says that he was
a physician and also a painter. In very
—«Hiiim^i^cmn^wnwflfttowoiv^'W" early times portraits of the Virgin were
ascribed to him. H e has therefore
consist of lozenges placed side by side. always been regarded as the patron
Lozenge mouldings are most frequently saint of artists. In pictorial art he is
244
LUK ART DICTIONARY. MAC
represented either as an evangelist hold- or enamel which applied to porcelain
ing his gospel and with an ox at his side, in a very thin layer gives it a smooth
or as a youthful painter with a portrait and glistening surface.
of the Virgin in his hand. In pictures Lustre. (2) An arrangement of lights
of the Byzantine school and the schools hanging from a ceiling, a vault, or the
derived from it he assumes the latter nave of a church. Ecclesiastical lustres
character. are frequently in the form of crowns and
Luke, St., Academy of. St Luke being are hung from the roof by chains.
regarded as a painter himself and a [Corona.] T h e lustres which light the
patron of painters, the earliest guilds auditorium of a theatre are of immense
of artists were established under his size. T h e fittings and decorative por-
name. A guild of St. Luke was estab- tions are generally of gilded bronze and
lished at Florence in 1345, in Paris in are enriched with crystal balls and
1391, and at Rome in 1593. T h a t at drops arranged in festoons:
Rome is still in existence. Luxembourg. A gallery of pictures in
Luminous. A term applied to brilliant Paris, inaugurated in 1818, including a
and striking tones, bright canvases, large number of works by living artists.
and pictures in which the lights predo- In accordance with a law, which, how-
minate over the shades. ever, is very little respected, works
Lunette. (Arch.) A small vault con- ought not to receive a definite place in
structed in a barrel vault of larger di- the Louvre until the artists who painted
mensions than itself, its purpose being t h e m have been dead at least five
to admit light to a dark place, or to years.
Lyceum. A building among the
ancients in which learned men met to
discuss and the youths of Athens received
instruction.
Lyre. A stringed musical instrument
frequently represented in ancient works
of art. In form it resembled the cithara.
It was the attribute of Apollo and St.
throw a part of the weight of a con- Cecilia.
struction upon other points of support.
T h e term lunette also denotes a win-
dow or space (often semicircular) about M.
a square-headed window or door. This Macabre. A term applied to subjects,
either painted, sculptured, or engraved,
in which figures a representation of
Death, either under the form of a
skeleton or of an écorchê.
Mace. T h e mace was originally <&fo
a spiked metal club for use in JT-i
actual fighting, but it is now <g
confined entirely to ornamental j\
purposes. Many corporate \
bodies, especially the universi- (J
space is frequently filled with decor- ties, have maces of their own, ^m
ative paintings, which are themselves which are carried before the 4à
called lunettes. chief officers of the university &•
Lustre. (1) (Pot.) T h e glazing, varnish, on important occasions. T h e most
245
MAC ART DIC: 10NARY. MAG
noted mace is that belonging to the Madder. (Paint.) From the root of
House of Commons. It always rests the rubia tinctorum a series of pigments
on the table of the House when the are obtained called madder lakes.
Speaker is present, and when the They vary in colour from a light pink to
Speaker leaves the chair and the House a dark purple. They are useful both in
resolves itself into committee the mace oil and water-colour painting, and when
is placed under the table. free from adulteration are permanent.
Machiolation. (Arch.) A projecting Madonna. A painted or sculptured
and continuous gallery built into the representation of the Virgin. A statuette
fortified castles of the Middle Ages at of the Virgin generally placed in a niche
the summit of the curtains and the upon the public way, often at the angle
towers, with openings whence the foot of a building.
of the buildings might be seen from Maenades. [Bacchantes.]
above. Machiolations in stone re- Magdalene, Mary. From the 13th
placed timber hourds, the deteriora- century onwards Mary Magdalene was
perhaps more eagerly worshipped than
any saint in the calendar. To the
scanty facts that can be gathered with
regard to her from the New Testament,
the Middle Ages added many interesting
legends. It was said that after the
death of Christ Mary with Martha and
Lazarus, whose sister she is assumed
to be, came to France and landed near
tion of which was necessarily rapid. Marseilles. H e r e Mary lived the
Machiolations were substituted for retired life of a penitent, spending years
hourds from about the 12th century. in complete solitude in a cave. It is
In the 14th century they were so this legend which has suggested the
constructed that projectiles might subject we so often meet with in picture
ricochet, or describe curves, or strike galleries of the repentant Magdalene.
the besiegers even when at a certain Of these the best known is that by
distance from the walls. In the 15th Correggio at Dresden. In other artistic
century machiolations were sometimes representations Mary Magdalene ap-
pears thin and haggard with a wealth
of golden hair. Her invariable attiibute
is the box or cup of ointment with
which she anointed Christ.
Magot. Chinese or Japanese gro-
tesque figures, painted, designed, sculp-
tured, and sometimes illuminated, in
which the dimensions of the head are
considerably exaggerated. There are
ornamented with trefoils ; but they dis- magots in porcelain, in faïence, in bronze,
appeared finally when artillery came in wood, or in ivory, which are some-
into general use. In certain Gothic times miracles of clever execution. T h e
houses timber machiolations were oc- term magot was contemptuously applied
casionally erected on the upper stories by Louis XIV. to the subjects painted by
to sustain the cornice angles, but with- Teniers, and hence it has generally been
out being of any utility, and simply for employed to mean genre pictures, such
the purposes of decoration. as were painted by the Flemish master.
246
MAI ART DIC RY. WKL
247
MAM ART DICTIONARY. MAN
block of wood slightly curved so as to with contempt by the Romans of the
form the arc of a circle, and fitted on republican ages (cut i) ; secondly, it
to a wooden handle that passes through denotes a protection for the arm worn
it. In heraldry the mallet sometimes
appears as a common charge.
Mameliere. A round plate or boss
fastened to the breastplate, as indicated
in our cut, which is from a brass in
248
MAN ART DICTIONARY. MAR
250
MAR ART DICTIONARY. MAR
ance of artist or workman while his this style, with great richness of com-
work is in progress. T h u s it is by position and exquisite workmanship.
means of guiding marks that several Marquise. (Arch.) T h e term marquise
colours may be printed by successive is applied to a light roof which projects
printings on one sheet of paper. from the façade of ^—
Mark, St. T h e evangelist and friend a building. It is "
of St. Peter is said to have suffered mar- generally placed
tyrdom in the year 68 A.D. In the gth over a flight of
century his bones were taken from steps. On the out-
Alexandria to Venice, and from that side of theatres
time he became the patron saint of marquises of con-
Venice. In art he is represented as siderable length
one of the evangelists holding a book are n o t infre-
and accompanied by a lion [Evangelists], quently to be seen, Almost invariably
or mitred as the Bishop of Alexandria. they have a glass roof.
Marli. (Pot.) A French term, denot- Mars. (1.) [Ares.]
ing the inside bor- Mars. (2) (Paint.) This term is used to
der of a plate or describe a series of artificially prepared
dish. Filets of pigments coloured by oxide of iron.
gold or colour are They are called Mars Brown, Mars
frequently drawn Orange, Mars Red, and Mars Yellow.
upon this border. They are all useful pigments and gene-
Dishes of Rouen rally permanent.
ware often exhibit Martel-de-fer. A weapon, which was
mar lis, decorated the development of the hammer. It had
with delicate arabesques and other pat- a hammer one side and a pick the other,
terns.
Marmoset. (Arch.) Small figures,
found principally in buildings of the
Gothic style, placed in a squat or
grotesque attitude
on the profile of
mouldings at re-
gular intervals.
These small fi-
gures frequently
hold a phylactery
in front of them partially concealing
their bodies.
Marquetry. A method of decoration
by placing in juxtaposition pieces of
wood, metal, or
other materials va-
riously coloured.
T h e taste for mar-
quetry was intro-
duced in France in
the 16th century, and no doubt was a very efficient de-
and the furniture stroyer of armour Our three cuts re-
of Boule (1642-1732) is decorated in present specimens belonging to the
251
MAR ART DICTIONARY. MAS
periods of Edward IV., Henry Vili., cheon is seen through. In the case of the
and Elizabeth respectively. mascle the part thus voided or cut out
Martello Tower. (Arch.) A round is itself diamond-shaped, whereas in the
tower armed with guns, such as Charles V. rustre the hollow part is circular.
built in Sardinia and Corsica, as a pro- Mascled Armour. A kind of mail
tection against pirates. Similar towers worn by the Norman soldiers, consist-
were built in England, especially on the ing of small lozenge-shaped pieces of
South Coast, where specimens are still
to be seen, as a defence against the in-
vasion of Napoleon I., which was so long
expected.
Martlet. (Her.) T h i s is the name for
the conventional swallow
1 employed in heraldry. It
& is always shown without
AgggL. I legs and beak and in pro-
I w P * J file with the wings closed.
T h e martlet is the special
mark of cadency assigned
to a fourth son.
Martha, St. St. Martha, the sister of
Mary, who " troubled herself about metal, which were sown on a leather
many things," is regarded not inappro- tunic. Our cut is from the Bayeux
priately as the patron saint of house- tapestry.
wives. According to the legend, she Mask. (1.) (Arch.) A system of decor-
came to France with Mary Magdalene ation taking the form of a head, usually
and Lazarus, and freed the neighbour- carved whimsically and
hood of Aix from a loathsome dragon ; surrounded with a gar-
in allusion to which she is sometimes land. It is sometimes
represented with a dragon at her feet. placed in the centre of
As the patron saint of housewives she a cartouche, serving as
carries a bunch of keys at her girdle and an ornament for a key
holds a ladle in her hand. stone, for the central
Martin, S t . St. Martin, though by portion of a lintel, of a
birth a pagan, was very early converted panel, or the like. T h e
to the Christian faith. For many years term is also applied to theatrical
h e followed the calling of a soldier, and masks, of which the two common types
while quartered at Amiens he divided are the tragic and
his cloak with a naked beggar, an inci- the comic masks,
dent which is the subject of the majority both inspired by
of pictures in which St. Martin figures. antique models.
From 371 A.D. to his death They are generally
in 397 he was bishop of used in decorating
Tours. H e is the patron the façades of thea-
saint of drinking and con- tres, or are placed
viviality. on m o n u m e n t s
Mascle. (Her.) T h e mas- erected to the me-
cle is diamond-shaped like mory of dramatic or lyric authors or
the lozenge, but is voided actors.
or pierced so that the field of the escut- Mask. (2) (Sculpt.) A mould taken
252
MAS ART DICTIONARY. MAS
from the face of a corpse. These masks rough, in the Decorated and Perpen-
have often been used as models in in dicular styles they have a smooth sur-
struction. face.
Masoned. (Her.) Towers and other Masonry, Clyclopean. [Cyclopean.]
buildings used as heraldic —, Herring-bone. Masonry which con-
charges are said to be sists of stones laid in courses inclined al-
masoned when the joints ternately from
of t h e m a s o n r y are right to left
clearly shown. As a rule and from left
sable would be the colour to right. W h e n
used to designate the the stones are j&vAJ^Xk\\,^g^>·
joints. squared, as in
Masonry. (Arch.) A term which the cut, this
denotes the preparation and piecing form of ma-
together of stones in walls or buildings. sonry is termed herring-bone ashlar.
When we say that the masonry of a It was used by Roman architects and by
building is defective, we mean that the them termed opus spicatum.
combination of stones in courses and —, Greek. T h e following are the
the superposition of the joints do not different kinds of masonry employed by
give a sufficient guarantee for its dura Greek architects : (1) opus isodomum,
bility. T h e two in which the
main classes in- stones are ash-
ιπ to wnich ma
?^^ΐ1^" - lar and laid in
*»Ì/j*uilullJli1iir|,ÌMti»iiiii|iiiilmii)--·, sonry may be c o u r s e s of
divided a r e : (i) equal height ;
that in which the stones are squared and (2)opuspseudi-
laid in even courses, to which the name sodomum, in which the stones are ash-
ashlar (q.v.) is given ; (2) that in which lar but laid in courses of unequal
the stones are put together without height; (3) opus emplectum (έμπλεκτον),
being squared or cut into any regular in which the
shape ; this is called rubble. From faces of the
earliest times walls have been composed wall are ashlar
of blocks of stone. Cyclopean masonry and held toge
[Cyclopean] is referred to by Homer ther by girders
and must neces- called diatoni,
sarily be of great w h i l e the
antiquity. T h e space between
Greeks and Ro- the faces is filled with rubble. In Greek
mans had several masonry the stones were laid in mortar.
kinds of masonry, —, Oblique.
of which an ac- Masonry in
count is given below. T h e masonry w h i c h the
of the Norman period was of consider- stones are loz
able variety, the opus reticulatum of the enge - shaped
Romans and herring-bone masonry both and arranged
being employed. After the 12th century i n regular
it is difficult to distinguish between the courses.
masonry of different periods, except in —, Reticulated. Masonry formed of
those buildings in which flints are used. stones cut square or lozenge-shaped and
In the Early English style flints are left so arranged that the joints give the wall
253
MAS ART DICTIONARY. MAT
the appearance of a draughtboard. This when sorrowing for her crucified Son.
form of masonry un- In art, the Mater Dolorosa is generally
der the name of represented alone, sometimes with one
opus reticulatum was sword in her breast, sometimes with
employed by the Ro- seven, in allusion to the seven sorrows
mans. she endured. When she holds the body
Masonry, Roman. T h e kinds of ma- of the dead Christ on her lap, the picture
sonry in use among the Romans were the is called a pietà.
following: (i.) opus incertum, in which Matrix. A steel die, from which im-
the stones used were not squared ; pressions in relief are obtained upon
this corresponds to the modern rubble ; coins and medals by striking. Matrices
(2.) opus reticulatum, in which the stones are obtained in the first
formed a draughtboard pattern ; (3.) opus instance from punches
spicatum, in which the stones are so (q.v.) cut in relief. T h e
placed as to form a herring-bone pattern. common method now
—, Romanesque. In the Romanesque is to make one punch
period the walls were formed of stones from a steel matrix,
laid in regular courses of unequal height, and then to obtain from
or else herring-bone or reticulated ma- this punch as many
sonry was employed. matrices as are required. Engravers
—, Rustic. Masonry in which the fix the matrix in a metal case, of cylin-
surface of each stone instead of being
flat was cut away so as to come to a
point. When the stones thus prepared
are set side by side, their projecting
surface causes a space to be left be-
tween them.
Massicot. A yellow or reddish pig-
ment consisting of protoxide of lead.
Like all lead pigments it is affected by
damp and bad air, and on account of
its non-permanence should be banished drical form, with a screw, and place the
from the palette. whole upon a cushion, as shown in our
Master. A term applied to a painter, second cut.
sculptor, engraver, or architect who Matt. Dull, lustreless, applying to a
founds a school, and whose works are surface having neither brilliancy nor
generally admitted to possess high polish. Used also in reference to un-
merits. [Little Masters.] varnished colours in distemper and to
Mastic. (Paint ) A resin which when unburnished gold.
dissolved in alcohol or turpentine forms Matter. (Engrav.) A kind of punch,
the varnish generally used by painters used by engravers in mezzotint, consist-
upon their pictures. It is obtained from ing of a shaft of metal with a kind
a tree which grows in the Levant. of round die on the end. This
Masterpiece. A work of art which is die is covered with small pro-
great both in intention and accomplish- jecting points placed at irregu-
ment ; or in another sense the most lar intervals. It is used to lay
masterly and finished work of a par- a light ground or to matt, i.e.
ticular artist. to render darker the parts of
Mater Dolorosa. T h e mother of the work that are too trans-
sorrows, a name given to the Virgin, parent or clear. Some matters are
254
MAT ART DICTIONARY. MED
255
MEL ART DICTIONARY. MET
head 'were used as charms, and many assume different forms according to their
such have been found. [Gorgoneion.] style and period. Sometimes they are
Meissen. [Dresden China.]
Mellow. (Paint.) An old picture is
said to be mellow when its tones have
been softened down by time, the influ-
ence to which the old masters are said
to owe so much. A modern picture may
be called mellow when its tones, so far
from being harsh and crude, have some- terminated by small pyramids, some-
thing of the softness and quietness of an times they are pierced with long vertical
old master. loopholes.
Members. (Her.) This term is applied Mermaid. (Her.) A mermaid is one of
by heralds to the legs and feet of birds the mythical beings whose existence is
so far as they are free due to the fertile imagination of the
from feathers. When the ancients. This being is
members of a bird are of half woman and half
a different tincture to the fish, and is generally
rest of the body, this fact represented combing
is expressed by the use her hair while she holds
of the word membered a mirror in the other
followed by the n a m e of the tincture. hand. T h e mermaid
Menhir. A Celtic monument consisting has always been ex-
of an enormous stone driven into the tremely popular with
ground and standing vertically, heralds either as a charge or as a sup-
Mentoniere. A piece of armour which porter of a shield.
was worn as a protection for the chin Metal. (Her.) T h e r e are two metals
employed in heraldry, gold and silver,
which are always described by their
French names, or and argent. See Tinc-
ture.
Metal-work. T h e arts of beating and
casting not only iron and bronze, but
also the more precious metals, have
256
MET ART DICTIONARY. MEZ
specimens of the most ancient Greek is easily recognisable by the following
art found by Dr. Schliemann at Mycenae strongly-marked characteristics : the out-
are many interesting objects in gold and lines of the figures drawn upon it are
silver. Throughout the supremacy of traced in blue or black, the flesh is
Greece and Rome cups and other objects white, while the draperies are tinted
of great beauty were made of metal. We blue.
engrave here two cups of classical work- Mezzanine. (Arch.) A small story
placed midway be- — < -,. •
tween two larger
stories. A mezza-
nine floor is gene-
rally found between
the first and second
story of a building.
T h e term is also
applied to the small windows, generally
of greater length than height, which
257
MIC ART DIC VIONARY. MIL
Other ways are then made at a certain with sword and shield in his hand. He
angle over the previous ones, until a is always winged, and often poises his
sufficiently close velvety texture is spear before killing the dragon. In
obtained. T h e ground being laid, the pictures of the Judgment St. Michael is
whole plate would, as we have said, clothed in armour and is winged, and
print black T h e lights of the picture holds in his hand the balance in which
which is being engraved in mezzotint souls are weighed.
are obtained by scraping away the Middle Ages, The. All works of art
ground, the high lights being got by are said to belong to the Middle Ages
the use of the burnisher. T h e advan which were produced between the 12th
tages of mezzotint are manifold. It and 16th centuries. This, however, is
does not involve the labour entailed by by no means the historical meaning of
line engraving, in which the lines have the term Middle Ages, which extend
to be ploughed into the copper, and it is from the fall of the Roman Empire in
therefore capable of greater freedom 475 A D. to the taking of Constantinople
than some methods. T h e n again by by Mahomet II. in 1453
its range of tone it is admirably adapted Middle Distance. (Paint ) T h a t part
for the representation of the various of a picture which lies between the back
textures in a portrait or the planes of a ground and foreground.
landscape. Its invention has generally Middle-tint. (Paint) A colour inter
been ascribed to Prince Rupert, who is mediate between the brightly lighted
said to have hit upon it from seeing a sol part of a picture and the part placed in
dier scraping the rust off his musket. This shadow. Middle-tints help to give har
story has, however, been proved to be mony to a picture, and to render the
false. T h e real inventor of mezzotint transition from light to shade less
was Lieutenant-Colonel Ludvig von abrupt.
Siegen, who in 1642 published a print of Milky. A term applied in painting
Princess Amelia Elizabeth of Hesse. to slightly opaque tones of white.
Some ten years later he explained his Precious stones are said to be milky
invention to Prince Rupert, who intro when they are sprinkled with spots or
duced it into England It is in England covered with a light tint of white.
that mezzotint has been practised with the Millefiori. (Pot.) A kind of mosaic
greatest success ; in fact, nearly all the glass, consisting of several rods of glass,
engravers who have attained celebrity of various tints, melted together. It was
in this branch of their art have been made in Venice centuries ago, and its
Englishmen. manufacture has been revived within the
Michaelangelesque. A term applied last sixty years.
to works of art in which the method of Milling. A term applied to the regular
Michael Angelo is imitated. Figures, notches incised on the edge of a coin.
for instance, are said to be Michael Mill-rine. ( H e r . ) The
angelesque when a their pose is bold, their mill-rine or mill-rind is the ^^^p
movement rapid, or their anatomy iron clamp fixed to the E S
strongly accentuated. centre of a millstone. It M 1%L
Michael, St. T h e archangel Michael appears in heraldry as an
when represented in pictorial art is armorial bearing, either Mm^gm^
young and of a smooth countenance. alone or shown on the mill- » W ·
His face wears an expression of severity, stone, but more often alone. β
indicative of his perpetual contest with T h e same instrument gives ^%pP^f^
the powers of evil. Sometimes he is also the idea for a special
robed in white, sometimes in armour kind of cross, the cross moline (q.v.).
258
MIN ART DICTIONARY. MIS
French heralds make a distinction the last two centuries, but has had to
between different kinds of mill-rines. encounter a serious rival in photo-
T h u s in the accompanying cuts they graphy.
would call the first a fer de moulin or Minium. (Paint.) Minium, which is
mill-rine, and the second an anile. also known as red lead, is a peroxide of
M i n a r e t . (Arch ) A lofty tower set by lead. It is a brilliant red pigment, with
the side of a mosque, with a just a suspicion of yellow in it. It was
â
projecting balcony at its sum- used extensively by the illuminators of
mit and a roof in the shape manuscripts and in earlier times by
of a bulb. Thence the term painters in oil. However, as it contains
is applied to a tower or bell- lead, it proves destructive to other pig-
turret which is at once lofty ments, and its use cannot be recom-
and of slender proportions. mended. In architecture it is of con-
| T h e towers of St. Mark's siderable service, being employed to
r ..— at Venice and of La Giralda cover iron rails and planks of wood,
j?$|I at Seville have the character- the former of which it preserves from
î^tî^iljH istics of minarets. In the rust, the latter from damp.
Ij S J j g P day
"SB
f.WIBP
architecture
^ a turretsof are
the t epresent
rme
minarets which suggest even
in a remote way the Mus-
d
M i n s t e r . (Arch.) A church which
belongs to a monastery or religious
house. Several of the English cathe-
drals are termed minsters, but this is
sulman style. to be accounted for by the fact, that
M i n e r a l Blue. (Paint.) This pigment they were originally the houses of
is described as a ferro-prussiate of prayer attached to a monastery, and
alumina. It is a good colour, but its became cathedral churches after they
permanence cannot be relied upon. were built.
— Grey. (Paint.) A neutral tint Mirror. An ornament consisting of a
obtained from lapis lazuli, of great looking-glass placed in a frame, gene-
service in oil-painting, as it admirably rally gilded and sometimes enriched
represents effects of cloud and mist. with carvings. T h e most esteemed
— Yellow. (Paint.) A pigment mirrors at the present day are those
obtained from proto-chloride of lead. which have a convex surface and
Like all lead pigments it is destroyed present a diminished image of whatever
by time and exposure. they reflect. T h e mirrors of the
M i n e r v a . [ Athene.] ancients consisted of a circular piece
M i n i a t u r e . (Paint.) T h e term minia- of metal with a highly polished surface.
ture, derived from minium (q.v.), was T h e metal employed was either a
first applied to the small water-colour mixture of copper and tin or silver.
drawings which adorn manuscripts. T h e back of the mirror was often
It was afterwards extended to all decorated with designs of great beauty
works of art, whether paintings, draw- and interest, incised upon the metal,
ings, or engravings, of small dimen- which fact places Greek and Roman
sions and delicate workmanship. Small mirrors among the most valuable relics
portraits on ivory or vellum, executed of ancient art.
with such care and minuteness that Misere-corde. A small dagger, which
the smallest detail will bear inspec- was used by the warriors of the Middle
tion, are more particularly known Ages for giving the death stroke to a
as miniatures. T h e art of miniature- wounded antagonist. It was generally
painting in this sense was brought damascened, engraved, or otherwise
to great perfection in England during ! richly decorated. T h e three specimens
259
MIS ART DICTIONARY. MOD
in our cut belong respectively to the contain the prayers of the mass. They
are generally enriched with colour, and
their ornamental letters are designed
in imitation of those found in mediaeval
manuscripts.
Mitis Green. [Emerald Green.]
Mitre, (i.) A term applied to the
joining of planks or mouldings at an
angle, generally at an
angle of forty-five de- \
grees. Frames and
panels are formed by
260
MOD ART DICTIONARY. MOD
2ÓI
MOD ART DICTIONARY. MON
b r a c k e t s
of Christ and the Virgin writ
ten as monograms are fre
quently found as ecclesiastical Β
decorations. Monarchs and potentates
placed against too have had
a wall and sup their mono
porting vases grams, and our
or busts. T h e third cut, in
volutes of mo which the letters
dulions are placed horizontally or ver ΚA R Ο LV S
tically ac are juxtaposed,
cording to represents the
the pur signature of
pose which Charlemagne.
they serve, Monograph. A biographical study or
and the
a collection of documents bearing upon
height and the life of one artist is termed a mono
projection graph, as is also an essay on a special
of the cornice they support. branch of art, such as enamels, faïences,
Modulus. A measure by which the bronzes, &c
intercolumniation (q.v.) and other pro Monopteral. (Arch.)
portions of Greek buildings are measured. An antique temple, cir-
T h e modulus generally taken as the cular in form, which
standard by architects is the diameter was surrounded by a
of the column near its base. single row of pillars.
Moerae. [Fates, The.] T h e choragic monument
Mole. (Arch ) A kind of stone jetty (q.v.) of Lysi-
running out into the sea at the entrance crates at Athens
of a harbour, the purpose of which is was a fine speci-
to break the force of the men of a monop-
waves. teral building of
Monde. (Her.) An he the Corinthian
raldic term, denoting the order. Our se-
globe encircled with band, cond cut shows
and surmounted by a cross, a m o n o p t e r a l
which is among the insignia of royalty. temple represented on a coin of the
Monochrome. A painting executed in Tullia gens at Rome. It will be
one colour. seen that a statue is placed in it, as
262
MON ART DR • TIONARY. MOR
263
MOR ART DICTIONARY. MOS
264
MOT ART DICTIONARY. MUF
266
MUR ART riONARY. MUS
267
MUS ART DICTIONARY. ΝΑΙ
Museum, South Kensington. The means imagine what his model can no
South Kensington Museum was one of longer represent to him.
the results of the Exhibition of 1851. It Mythology. T h e greater number of
was intended primarily to include ex subjects affected by ancient sculptors
amples of art applied to industry, as well and painters were suggested by their
as a collection of such works as should mythology, i e , by the fabulous history
have an interest and value for art stu of their gods, goddesses, and heroes. An
dents. But it has gone far beyond these account of the chief among these deities,
limits, and is, in addition, the refuge of with the attributes by which they may be
many miscellaneous objects, such as the recognised, will be found under separate
Dyce and Forster collections of books, headings. Mediaeval and modern artists
drawings, & c , and a large number of too have often sought their inspiration in
pictures, the majority of which belong classical mythology, especially in times
to the British School. T h e majority of like the present, when there has been a
the pictures acquired under the terms sort of classical revival.
of the Chantrey Bequest find a home at
South Kensington.
Muzzle. (Arch.) An architectural
N.
decoration represent N a g a . Among the Dyaks of Borneo a
ing the muzzle of an ceitain kind of jar, to which the name of
£*S*i3L animal, whether real naga (a dragon) is given, is very highly
prized. It is uncertain when and by whom
or fabulous. The
muzzles of lions are these jars were made, but all have a figure
frequently employed of a dragon traced upon their surface.
in the decoration of Naiant. (Her.) This terms mean swim
fountains or gutters, ming, and is used in
jets of water issuing heraldry of a fish repre
from the openings thus formed. sented on a shield in a
Mutule. (Aich) A kind of modillion, vertical position. When
of considerable size, peculiar to the a fish is shown in a hori
zontal position, it is said
, ,Λ|«2 to be hauriant (q.v.).
Nail. T h e heads of nails form one of
the simplest methods of ornament in the
world. They are frequently employed
to decorate the panels of doors or of
small pieces of furniture such as coffers,
cabinets, &c. In this case brass-headed
Doric order. It is sometimes quite nails are generally used.
plain and sometimes covered with rows Nail Ornament. (Arch ) A system of
of guttae (q.v.). ornament frequently used in the Ro
Myology. T h a t branch of anatomy manesque style. The
which includes the study of muscles " n a i l s " often present
T h e living model does not always give
the artist sufficient guidance. As the
model gets tired the muscles relax, and
after a while no longer display the ten
sion which they should have in action.
T h e artist must then fall back on his the appearance of diamond points and
knowledge of anatomy, and by this are set side by side Sometimes, how·
268
ΝΑΙ ART DICTIONARY. NAT
ever, they are spaced out and the heads carved upon panels of wood in the
of monsters are incised upon them. In Gothic period. It suggests a square
this case they are commonly known piece of cloth folded sometimes double
under the name of corbels or modulions. with the two ends curved inwards, some
Naissant. (Her.) This term is applied times in many close folds. T h e com
to demi-lions, or other moner n a m e for this ornament is linen
charges rising out from scroll (q.v.)
" the middle of a fess or Naples Yellow. (Paint.) A pigment
some other ordinary. which was originally composed of the
It differs from issuant, oxides of lead and antimony, but is now
which implies that the generally manufactured from zinc. It
charge rises from the derives its name from the fact that it
lower edge of the ordinary, which in was once prepared at Naples. It is a
this case is always a chief. useful pigment, and, though it is affected
Naked. (Arch.) A term applied to the by bad air and by pigments, such as the
surface of a wall, to which projecting ochres, which contain iron, it may be
ornaments are applied, or to regarded as permanent.
the actual surface or vertical Narthex. (Arch.) T h e interior vesti
line, beyond which a moulding bule of a Christian basilica railed off
or decorative motive projects. from the rest of the building, where the
In a cartouche, for instance, the catechumens and penitents were ad
volutes and foliage project be mitted.
yond the naked of the surface Nasal. That
which they decorate, while the portion of a hel
centre of the cartouche may met which pro
project still further from the tected the nose.
naked, may be so depressed as Our cut represents
to coincide with it, or may be sothe head of a
hollowed out as to recede from it.
warrior from the
The latter is often the case whenBayeux tapestry.
the cartouche is incrusted with marble. National Gal
Naos. (Arch.) T h e central portion of alery. T h e Na
Greek temple, in which stood the statue tional Gallery,
of the deity to whom the temple was de which is situated
dicated. In the modern Greek church the in Trafalgar
naos is the nave reserved for the faithful.Square, in London, contains about 1,300
Napkin Pattern. (Arch.) A name examples by English and foreign
masters. Compared with many foreign
picture galleries it is a very young
institution. It dates its foundation from
1824, in which year a small collection of
38 pictures was purchased from Mr.
Angerstein. This formed the nucleus
of the unrivalled collection now at
Trafalgar Square. T h e Angerstein
Collection was speedily augmented
by gifts and bequests, and in 1853 the
nation possessed 236 pictures. Shortly
before this time the pictures thus
given to a decorative pattern frequently I acquired had been removed from Pall
209
NAT ART DICTIONARY. NEC
Mall, where they had been exhibited the representation of her various phases.
at Mr. Angerstein's house ever since T h e naturalism of the present age too
their purchase, to the building now often lacks loftiness of aim, and is
known as the National Gallery. Annual sometimes little better than brutality.
grants from Government, largely sup- However, such artists as Albert Durer
plemented by private munificence, have and Lucas Cranach have shown that it
enabled us within the short space of is possible to be a naturalist without
rather more than sixty years to get losing nobility of sentiment.
together a collection of pictures which in Naumachia. (Arch.) This term, which
some respects is unsurpassed in Europe. literally means a sea-fight, was applied
W e may particularly congratulate our- to amphitheatres or circuses in Rome, in
selves that our gallery, small though which sham sea-fights took place. T h e
it be, contains for the most part first was built by Julius Caesar, and the
picked examples of the great masters naumachia of the later emperors were
and is singularly free from rubbish. vast structures. Representations of
Of late years the pictures have been them are frequently met with on coins
carefully rehung according to schools, or medals.
and their value from an educational Nave. (Arch.) T h a t part of a Gothic
point of view has thus been much en- church which extends from the choir to
hanced. the western door. T h e word nave means
National Portrait Gallery. [Portrait a ship, and it was applied to the body
Gallery, National.] of the church, in accordance with the
Native Green. (Paint.) A pigment simile which compared the church to a
artificially prepared from oxide of ship.
chromium or chrome ochre. It is a Nebris. A fawnskin, frequently found
deep opaque sage green, and is very in representations of Bacchantes and
useful, as it is quite permanent. Thyades.
Nativity. T h e " nativity" or birth of Nebulé. (Her.) This is one of the
Christ was one of the favourite sub- varieties of the dividing
jects of the old masters. It is repre- lines of a shield. Nebulé
sented as taking place in a stable. T h e take slightly different forms
child, wrapped in swaddling clothes, lies on different shields, but
in the manger, its mother and Joseph they all resemble pretty
keeping watch over it. T h e ox and the closely the specimen here
ass are never omitted from the scene. shown, consisting of well-
This may be called the realistic repre- marked double indentations and pro-
sentation of the scene. Sometimes, jections.
however, it is treated symbolically, the Necklace. An ornament worn round
infant lying on the ground and the the neck. It has been made of glass
mother kneeling over it, while attendant
angels keep guard.
Nature. An artist is said to execute
his work from nature when he paints,
draws, or models from the living model,
or places his easel before the landscape
he wishes to represent and paints in the
open air.
Naturalism. An aesthetic tendency beads and the seeds of plants as well as
displayed by a certain school of artists of jewels and richly chased gold. T h e r e
to keep as close as possible to nature in is no race, either barbarous or civilised,
270
NEC ART DICTIONARY. NET
among whom necklaces have not ,been and were regarded as the spirits of the
worn. Our cuts represent two necklaces sea. They are represented as attending
Aphrodite, when she was born of the
sea. T h e Greeks with the anthropo-
morphism which was characteristic of
them, imagined the Nereids as maidens
of great beauty and thus they appear on
painted vases and other works of art,
swimming in the sea or riding on dol-
discovered in Etruscan tombs, the upper phins. They suggest an obvious parallel
one being now in the British Museum. with the mermaids of Teutonic mythol-
Neck-moulding. (Arch.) A broad ogy. Four figures representing Nereids
fillet or astragal, which separates the are among the marbles discovered by
shaft of a column from the capital. Mr. Fellows at Xanthus, and are now in
Necropolis. A term applied in ancient the British Museum.
times to that portion of a city, some- Nereus. One of the sea-gods of Greece,
times a subterranean vault, in which the father of the Nereids. H e is repre-
the dead were buried. In modern times sented in works of art as an aged man,
it denotes a large cemetery. with a long beard and a Jove-like head.
Needle. (Arch.) A name given in Nero Antico. A marble sometimes
Gothic architecture to the pinnacles or used by the ancient sculptors of Egypt
bell - turrets, which are some- and Greece. It is of a very deep black
times termed spires, as well as in colour and is unknown in its natural
to steeples in the form of a taper- state in the present day.
ing pyramid. Egyptian mono- Nerve. (Arch.) A term applied to the
liths or obelisks of pyramidal mouldings which surmount the surface
form and of great height in pro- of a vault. It is synonymous with rib
portion to their breadth are also (q.v.), which is the term more commonly
called needles. Such is Cleo- employed.
patra's Needle, which now stands Nervous. A painting is said to be
upon the T h a m e s Embankment. nervous when the colours are firm and
Negative. A term applied to a photo- the drawing is vigorous. T h e term is
graphic proof, in which the light parts applied to a piece of sculpture, the
are represented by black and the parts modelling of which is solid without
in shadow by white spots. being heavy, while the various planes
Neo-Greek. A style of painting are strongly and clearly marked.
adopted by some artists who attempt Net. (Her.) Nets are sometimes borne
to infuse modern sentiment in the style as charges on coats of ar-
and subjects of ancient Greek art. In mour, and may cover
architecture the term neo-Greek is either the whole or part
applied to a style inspired by the Greek of a shield. Or a net may
orders with these modifications : the be supercharged on some
ornamentation projects but little, foliage other charge ; thus, for ex-
for instance, being only incised, while ample, we might have a
uniform surfaces of considerable size fess or a bend charged with a net of a
and mouldings with a long narrow different tincture.
outline predominate. Netsukés. A Japanese word denoting
Neptune. [Poseidon.] a small toggle or button, carved in ivory
Nereids. In Greek mythology the or wood and attached by the Japanese
Nereids were the daughters of Nereus to the fasteners of their medicine boxes
271
NEU ART DIC NIE
272
NIE ART DIC TIONARY. NIO
Niello· A process of decorating metal racteristic anthropomorphism, regarded
plates brought to perfection by the gold- Night as the daughter of Chaos, the wife
smiths of Italy in the 15th century. of Erebos, and the mother of Sleep and
A design was incised upon a plate of Death. Artistic representations of her are
silver or of gold and silver mixed. A by no means unknown. A statue of Night
black compound consisting of copper, by the sculptor Rhoecus is said to have
lead, borax, sulphur, and sal ammoniac existed in Ephesus in the 7th century
was then introduced at a high tempera- B.c. On painted vases she appears as
ture into the incised lines, and when heavily draped and wearing a veil covered
cool formed an incrustation, leaving the with stars. She bears two children,
rest of the metal plate bare. T h e plate Death and Sleep, in her arms.
was then polished and presented the Nike. T h e goddess of victory among
appearance of black incrustation on a the Greeks. She was particularly asso-
light ground. This method ciated with Athene and Z e u s , and the
Β
of engraving metal plates golden and ivory statues of Athene at
was practised with success Athens and of Zeus at Olympia each
by Byzantine and German held a winged Nike in its hand. Nike
artists, and many of their was generally represented as a draped
works are executed with maiden with wings. She holds a palm-
wonderful delicacy. The branch and wreath in her hand, and
Italians, however, were the sometimes stands upon a globe. Coins
most distinguished niella- struck in commemoration of a victory
tovi, and among them frequently have a figure of Nike struck
Tomaso or Maso Fini- upon them. One of the most celebrated
, ___ guerra is justly the most statues of Nike in existence is from the
celebrated. H e was in the hands of Paeonius. It was ordered by
habit of testing his half-finished work, the Messenians to commemorate the
by taking a proof of it in earth or sul- victory of Sphacteria, and a cast of it is
phur or even on paper. T h e r e is in to be seen at the British Museum. As
the print-room of t h e Paris Library we have said, Nike is generally a winged
a proof on paper of a Pax partially goddess, but in early art she is repre-
engraved in niello by Finiguerra in sented without wings, and a temple in
1452. This proof is of the greatest im- honour of Nike Apterus, or Wingless
portance in the history of engraving, for Victory, existed at Athens.
there is no doubt that intaglio engraving, Nimbed. A saint is said to be nimbed
the art of multiplying copies of a design when his head is surrounded with a
incised on a metal plate, took its rise from nimbus.
the rough proof taken by the goldsmiths Nimbus. T h e luminous circle placed
of the 15th century from their nielli. by painters and sculptors on the heads
Niggling. (Paint.) When such de- of saints. Some nimbi are cruciform,
tails as the leaves on a tree are treated
separately, and without any regard to
their mass, they are said to be niggled,
and their method of treatment is
called niggling. T h e works of the Pre-
Raphaelites afford m a n y complete in-
stances of niggling, and will illustrate others triangular. They assume indeed
the confusion and want of dignity in- a variety of forms, according to the saint
sured by this false realism. whose head they surround. [Aureole.]
Night. T h e Greeks with their cha- Niobe. In Greek mythology Niobe was
273
NOC ART DICI 'IONARY. OBE
274
OBL ART DIC ΓΙΟ NARY. OCT
275
ocu ART DICTIONARY. OIL
Oculus. (Arch.) A small opening or light handle gracefully curved in the
window of circular form which admits shape of an S. Such is the one re-
light and air. T h e term is especially presented in our second cut, which is
applied to the circular openings made taken from a bronze oenochoe found at
at the top of Volterra.
Ij'.i t h e , pediment Offskip. (Paint.) T h a t portion of a
~ in Latin basi- landscape which recedes into distance
licae. The is called the offskip.
oculus is also Ogee. (Arch.) A moulding formed of
found in build- two segments of a circle, the concave
ings of the segment occupying the
Romanesque upper part of the mould-
and Gothic ing and the convex the
styles. W h e n it plays an important part lower. T h e ogee, which
in the decorative scheme of a façade it is of a gracefully undulat-
is called a rose window (q.v.). ing form, is a moulding
Odeon. (Arch.) A Greek building, frequently employed in the entablature
differing in its roof and internal archi- and projecting crowning of a building.
tecture from a theatre. It was used —, Reverse. An ogee moulding, the
principally for concerts. T h e most cele- upper part of which is occupied by the
brated Odeon at Athens was built in the convex segment of a circle. It is em-
time of Pericles, and stood not far from ployed as a moulding in pedestals and
the theatre of Dionysus. sub-basements.
Oenochoe. (Pot.) A vase or Ogive. (Arch.) A term applied by
jug which was used in ancient French architects to the Pointed or
Greece for pouring the wine Gothic style which flourished in Western
from the crater to the drinking Europe from the 12th to the 16th century.
cup. T h e majority of these In England we call this Pointed (q.v.).
vases, which are often richly Oil. (Paint.) T h e oils used in oil-paint-
decorated, are graceful and ing are linseed oil, nut oil, poppy oil,
tapering in form. Sometimes, spike or lavender oil, and drying oil for
however, the oenochoe is ovoidal in colours, such as lake, ultramarine, and
blacks, which do not dry easily. For
grinding colours a mixture of linseed
oil and mastic is used. Up to the last
century artists ground their colours
themselves, and each had his own re-
ceipt for mixing the oil, of which he was
very proud and which he jealously
guarded. Some used linseed oil with a
little copperas, while others added a
certain quantity of litharge to nut oil.
—, Drying. Drying oil is obtained by
adding to warm linseed oil a mixture of
litharge, white lead, and black ochre.
—, Linseed. T h e best linseed oil for-
merly came from Holland. T h e painters
of the last century, in order to make it as
white as poppy oil, exposed it in leaden
shape, has a veiy ihin neck and a jars to the sun, adding white lead and
276
OIL ART DICTIONARY. OLP
calcined talc to it. Linseed oil is an used in decorative art. T h e leaf is oval
excellent siccative, in shape, its upper surface being of a
Oil, Nut. Nut oil, though not so good dark green, while underneath it is of a
a siccative as linseed oil, is much whiter. lightish hue. T h e wood of
It is accordingly used in diluting whites the olive-tree is of a fine
and greys, which would be easily tar- yellow tone, delicately
nished by the colour of linseed oil. veined with brown. It takes
—, Poppy. This oil is clearer than a beautiful polish, and is
linseed oil, has neither iaste nor smell, sometimes used in cabinet-
and is used for diluting white lead, the making. In symbolic art
brilliance of which it does not in the the olive is the emblem of
slightest degree tarnish. peace, and as this it figures in Byzan-
—, Spike. Spike oil is an essential tine art.
oil of lavender and is used by painters Olive Moulding. (Arch.) A decoration
for oiling out and for cleaning parts of consisting of ob-
the canvas. It is also found useful by long pearls, which
painters in enamel. is employed to en-
Oiling-out. (Paint) When a picture is rich baguettes and other mouldings
to be retouched, it has first to undergo the which are convex in profile.
process of oiling-out. For this purpose Olla. A common
a drying oil is used, which was prepared jar, generally made
in the last century by artists themselves of baked clay, used
according to various recipes. As a rule by the ancients for
it consisted of poppy oil, with certain cooking and other
substances added. domestic purposes.
Oilettes. (Arch.) Long narrow slits in It generally had a
the walls of a fortified building through wide mouth and
which archers discharged their arrows. was covered by a
Sometimes they were straight, sometimes lid, as is shown
cruciform ; in the latter case they en- in our cut.
abled the besieged to aim their arrows Olpe. (Pot.) An ancient vase of vari-
in several directions. [Loophole.] able size, which resembles a leather
Oiron Faïence. [Faïence of Henri
II.]
Okimono. A Japanese word, which
literally means " a thing to be placed."
Hence it is applied to ornaments and
objects which serve a decorative rather
than a practical purpose.
Oleograph. A reproduction of a pic-
ture obtained by a process of printing in
which a kind of oil-colour is used instead
of the ordinary printer's ink. T h e term
is especially applied to the proof obtained
by the processes of chromolithography.
The oleographic process has the advan-
tage of cheapness, but its results are
seldom, if ever, artistic.
Olive. T h e foliage of the olive-tree, flask in shape. It has a circular handle
which is a native of Asia, is frequently and a wide flat rim.
277
ONU ART DICTIONARY. ORB
Onuphrius, St. St. Onuphrius, accord- used in Rome. Its distinguishing fea-
ing to the legend was a monk of Thebes, ture is that its patterns, which are al-
who spent sixty years of his life alone in ways geometrical, are composed entirely
a bleak desert. After enduring without of two colours.
a murmur the pangs of hunger, he was Opus Antiquum. (Arch.) A form of
found dying in the wilderness by another masonry employed by Roman architects
monk, who buried him. In art he is in which the stones were not squared.
represented as an aged man, scantily This kind of stone-
clad and with a lean and hungry look. work is also called
Onyx. A variety of agate or chalce- opus incertuum. Both
dony of remarkable beauty and marked the opus antiquum
by parallel and concentric rays variously and the opus spica-
coloured. It was much used by the tum, or herring-bone
ancients for cameo-engraving. masonry, were used in buildings of
Opal. A blueish white variety o f the Latin and Romanesque styles.
quartz, which is semi-transparent and — Reticulatum. (Arch.) A term ap-
iridescent. plied by Roman architects to that kind
Opalescent. A body is said to be of brickwork or masonry which we term
opalescent when it is semi-transparent diamond pattern.
and iridescent like an opal. T h e scien- — Spicatum. (Arch.) In Roman
tific explanation of the phenomenon of architecture the masonry which we call
opalescence is that particles of gas or herring-bone was called opus spicatum.
solid matter are uniformly intermixed [Masonry, Herring-bone.]
in a transparent body. Or. (Her.) T h e heraldic name fcr gold.
Opaque. (Paint.) A term applied It is indicated on a
to pigments which lack transparency. shield by tiny dots ^iffi
Chrome green is a good example of an powdered over a
opaque pigment. Some pigments under- plain field. The
go a curious change when laid on the shield in our cut
canvas; they lose their opacity and so would be described
allow any colour which has been laid t h u s : Or, a bend
on beneath them to be distinctly seen. gules.
This is especially the case with pigments Orange. A secondary colour produced
containing lead, the use of which can by the mixture of two primary colours,
never be recommended. red and yellow.
Open Air. (Paint.) [Plein Air.] — Chrome. This pigment, which is a
Opening. (Arch.) A general term ap- rich opaque orange, is a chromate of lead.
plied to the bays, windows, doors, and Like all lead pigments it has a delete-
other spaces which break a façade, the rious effect on the pigments with which
nave of a church, &c. it is mixed, but in pure air and unmixed
Opisthodomus (Arch.) T h a t part of it is fairly permanent.
the Greek temple behind the cella (q.v.) — Vermilion. A pigment somewhat
in which the treasures of the deity and resembling red lead. It is more brilliant
other relics are kept. It was at the and less opaque than vermilion. It is
western end of the building, the'Greek also pure and permanent and dries well.
temple differing from the Christian Oratory. (Arch.) A small private chapel
church in having its principal entrance or a room arranged and decorated as a
in its eastern façade. chapel.
Opus Alexandrinum (Arch ) A Orb. T h e orb surmounted by a cross
simple kind of mosaic pavement much is the symbol of sovereign power. It is
278
ORG ART DICTIONARY. ORI
279
ORI ART DICTIONARY. ORN
Oriflamme. The oriflamme, which was the decoration of all ages and all coun-
the standard of the ancient tries. T h e most probable theory is
kings of France, was once that they are developments or degrada-
the banner of the abbés tions of natural objects. It is easily
of St. Denis. In former conceivable, for instance, that a h u m a n
times it had three points head drawn over and over again, with-
terminated by tufts and out reference to the original, might
was hoisted at the end of finally be so conventionalised as to be-
a lance. Nowadays ori- come a mere pattern or arbitrary ar-
flammes are hung like rangement of lines. Architectural or-
banners and are frequently nament includes mouldings of every
carried in processions. kind as well as the cartouches, metopes,
Original. A term applied to the per- brackets, & c , which decorate façades,
sonal method of conceiving and inter- friezes,orvaults. [Foliage, Moulding,&c]
preting a work of art which is suggested Ornament, Arabian. Arabian orna-
by nature or by the artist's own imagina- ment is based upon geometrical combi-
tion. In another sense the word denotes nations of circles, polygons, trapeziums,
a picture, drawing, or statue, from which triangles, lozenges, and other figures
copies or reproductions have been made. variously coloured and harmonised with
Originality. Originality includes all the utmost ingenuity.
the distinctly personal or individual —ι Egyptian. T h e principal systems of
qualities which characterise an artist's ornament employed in the Egyptian style
work. T o lack originality is to remain consist of hieroglyphics, winged globes,
in the old bonds. But originality is some- scarabs, symbolic animals, and foliage,
thing different from eccentricity. In- especially that of the lotus and palm.
deed, it is the virtue to which eccentricity —, Gothic. T h e Gothic ornament of
is the corresponding vice. the 12th and 13th centuries consisted of
Orle. (Her.) T h e or le is a narrow band a scrupulously exact reproduction of the
extending round the shield at a slight flora of the country or district in which
distance inside the edge, a particular building was situated, to
so as to form another gether with representations of chimeri
shield hollowed out. It cal animals. In the 14th century the
thus might properly be taste for ornament decreased. The
described as an escut- architects of the 15th century, however,
cheon voided, and was were very lavish in their use of orna
in fact so blazoned by ment, which soon lost its purity of line and
early heralds. became meaningless and extravagant.
Ornament. A painted or sculptured —, Greek. Greek ornament for the
motive enclosed by regular or irregular most part consists of foliage applied
lines and contributing to the richness symmetrically to the various portions
and effect of a work of art. Ornament of the entablature (q.v.). ' Such are the
consists of a succession of purely con- leaves which adorn the curve of capitals
ventional patterns or of a free render- and the roses which are placed on friezes.
ing of foliage and figures. In any case T h e classical architecture of the Re
they consist of an arbitrary series of naissance adopted Greek ornament with
lines or curves which vary according to some slight modifications,
t h e fancy of the artist. T h e question —, Polychrome. Ornament in several
as to the origin of conventional or colours. [Polychromy.]
geometrical ornament is wrapt in ob- —, Roman. T h e ornament applied to
scurity. Similar patterns are found in Roman architecture differs but little from
280
ORN ART DICTIONARY. OVA
that applied to Greek architecture. cherubims, ears of corn, and bunches of
However, in the decoration of wall sur- grapes. One of the finest in existence
faces and pavements the Romans em- is that in Notre Dame, at Paris. It is in
ployed mosaics and fresco-paintings on the form of a sun and is of solid silver.
variously coloured grounds. In these It was presented to the church by the
works the design generally consisted of Canon of L a Porte and was executed by
a central motive surrounded by foliage, Ballin, goldsmith to the king, after the
garlands, and arabesques. T h e frag- design of the architect de Cotte. It mea-
ments of paintings found at Pompeii sures no less than five feet in height, and
present many examples of wall surfaces is supported by the figure of an angel
thus decorated with arabesques, figurines, holding the book of Revelations in his
fanciful buildings, and labyrinths. hand.
Ornament, Romanesque. During the Osteology. T h e important branch of
Romanesque period architectural orna- anatomy which includes the study of
ment, which in the Byzantine age had bones, the osseous system, and the skele-
been of the utmost richness, was confined ton. It is a study of the utmost impor-
to the faulty reproduction of classical mo- tance to artists.
tives. T h e ornament which added so Outremer. [Ultramarine.]
much grace to the Greek orders is scarce- Outline. (Paint.) T h e imaginary line
ly recognisable in the heavy clumsy de- which surrounds an object, when repre-
coration of Romanesque architecture. sented in drawing or painting, is termed
Orpiment. (Paint.) A pigment com- an outline. How much can be achieved
pounded of sulphide and oxide of arsenic. by a single outline is proved by the ex-
It is a rich colour varying from yellow to quisite drawings of Holbein. In paint-
orange. It is found in a natural state ing, an emphatic definition of outline
and is also manufactured. It was much should be avoided, as it is not essential
used by the ancients, and by them called to good draughtmanship, and it produces
auripigmentum, but modern science has an effect of harshness, which is not seen
proved that it is not permanent, and in nature.
that it is adversely affected by other pig- Oval. An oblong curve. In principle
ments; its use therefore cannot be re-
commended.
Orthography. A term applied to geo-
metrical elevations and geometrical
drawings representing a building with its
dimensions reduced to scale, without any
attempt at perspective.
Ostensoir. A transparent vase or pyx
(q.v.), in which the
host is placed, and so
exposed to the sight the oval is a curve which in form ap-
of the worshippers. proaches as nearly
Many of the ostensoirs as possible to half
made by goldsmiths an egg cut length-
in Catholic countries wise. But the term
during the last cen- has a wider appli-
tury were of great cation. T h u s an
beauty. They are ellipse is called
generally in the form of a gloria and an oval. Oblong
are sometimes enriched with heads of curves are often formed by several arcs
19
281
OVE ART DICTIONARY. PAI
of circles meeting one another, and hav- shown in our cut. It somewhat resem-
ing their several centres placed sym- bled the crater both in shape and use,
metrically. T h e h u m a n face seen in and was sometimes provided with lateral
front may be inscribed in an oblong handles placed not far below its rim.
curve of this kind. T h e oval of a face is
a common expression.
Over-all. (Her.) W h e n a figure is
borne over another fi-
gure, so as to hide part Pad. (Engr.) A kind of dabber slightly
of it, it is said to be flattened and covered
over-all. with silk, by means of
Ovolo. (Arch.) A con- which the varnish,
tinuous ornament in while still warm, is
the form of an egg, spread over copper
which generally decorates the moulding plates which are to
called a quarter-round. T h e eggs are be etched.
generally separated from one another Padding. (Paint.) Under this term is
by pointed darts. T h e ovolo is very included every figure in a painting which
widely employed to decorate the mould- does not add to the value of the com-
ings of the an- position, each accessory which, being
cient Greek orders superfluous, detracts from the merit of
as well as Roman the work.
and Renaissance Pagoda. (Arch.) A term applied to
mouldings. Some the religious buildings of India, China,
writers on archi- and the kingdom of Siam.
tecture have fallen into the error of Paint. T h e pigments used by artists
using the term ovolo to denote the are generally known as paints.
quarter-round mould, instead of the orna- Painting. Painting may be defined
ment which decorates it. as that one of the formative arts, the end
Owl. In ancient times the owl was the of which is to represent upon a flat sur-
bird sacred to Athene, and Athenian face by means of lines and colours the
coins bore an owl as their type. From phenomena of the natural world, so that
this circumstance arose the famous pro- an illusion of reality in outline, model-
verb, " Owls of Athens," of which the ling, and colour may be obtained. T h e
modern form is " Coals to Newcastle.'' means by which this end is arrived at
Oxgall. [Gall.] may be summed up in colour, perspective,
Oxybaphon. An ancient vase of con- light, and shade. Painting may be
roughly divided into (i) drawing, includ-
ing water-colour, pastel, pencil, and
chalk drawing, &c. In this class the
work is executed upon paper, parch-
ment, and similar materials ; (2) oil-
painting, in which pictures are executed
in oil-colours upon canvas or panel ; (3)
mural painting, in which pictures are
executed on wall-surfaces in dry colours
or in water, tempera, or wax colours.
T o these divisions must be added vase-
painting, glass-painting, and painting on
siderable dimensions and of the shape porcelain and enamel. Painting may
282
PAL ART DICTIONARY. PAL
283
PAL ART DICTIONARY. PAL
the brush in the execution of fish, lizards, and other creatures were
their works. Others lay in figured.
their skies and foregrounds Pall. (Her.) A pall is an ecclesiastical
with the palette knife. T h e vestment worn over the shoulders.
mers. T 1 hnee
palette knife has changed its part of it shown on a
traditional form, and often as- shield takes the form of
sumes a triangular or other
SI
the letter Y. T h e pall
shape, according to the me- is only worn by arch-
thod of work of the artist who bishops, and is the dis-
uses it. tinctive mark in heraldry
Palettes. Small disks or of these dignitaries of
plates of metal which, when the Church.
plate armour was worn, were fixed Palla. A robe worn by Greek women
and reaching from the neck to the feet.
It consisted of a rectangular piece of
cloth, a portion of which was folded over
284
PAL ART DICTIONARY. PAL
us the best idea of the Palladian palm-leaf is given to a different orna-
style are to be seen at Vicenza and ment. This is a leaf curved at the end
Venice. and covered with foliage and ara-
Pallas Athene. [Athene.] besques, often very
P a l l e t . (Her.) A di- complicated in design
minutive of the pale and rich in colour. A
(q.v.). system of ornament
Pallium. A garment consisting of small
which may best be de- palm-leaves is used in
scribed as a large cloak. various styles of archi-
It c o m p l e t e l y en- tecture. Sometimes
veloped the wearer, and was much the leaf is inscribed in a curve, or it
worn by the Greeks, among whom it consists of several stems, five in num-
took the place occupied at Rome by the ber or even more, held together by a
kind of clasp. Their lower portion
28S
PAL ART DICTIONARY. PAN
fixed upon a staff and used with con nately metal and tincture. T h e shield
siderable effect. It is pre-eminently a in our cut is described thus : Paly of
four, argent and gules.
Pan. Pan was regarded by the Greeks
as the god of flocks and herds, hunting
and fishing. H e was said to have been
the inventor of the shepherd's pipe,
which after him was called Pan's pipe.
H e is represented in art as a short-
bearded man, with the ears, horns, and
Scandinavian weapon, but it was used legs of a goat, and his attributes are a
as well by all the Celtic nations. pipe and a crook.
Paludamentum. A cloak generally Panathenaic Amphorae. (Pot.) These
of fine texture and rich colour, which vases were given as prizes to the victors
was worn by Roman officers over their in the Panathenaic festival, which took
place every year at Athens in honour of
Athene. T h e vases are in the form of
amphorae with lids. On the body of
the vases is a representation of Athene
in her panoply. On each side of the
goddess stands a column surmounted
by an owl, cock, or h u m a n figure. T h e
inscription Ύών Άθήνηθεν 'Άθλων runs
down the side of the vases, which are
always purposely archaic in style. On
the Parthenon frieze, now among the
Elgin marbles in the British Museum
may be seen a representation of the
Panathenaic procession.
Pandroseum. (Arch.) A name given
to a portion of the Erechtheum, which
stood on the Acropolis at Athens, con
sisting of a porch, the entablature of
which was supported by caryatides (q.v.).
Pane. (Arch.) A sheet of glass placed
within the frame of a window.
Panel. In architecture a panel is a flat
or convex surface surrounded with a
armour. It was fastened on the shoulder frame or decorated with mouldings.
by a brooch, and in shape, though not Sunk compartments in walls, for in
in size—for it was considerably larger— stance, are panels. T h e term panel
it resembled the Greek also denotes a piece of wood which is
S HUM IIIiliUr chlamys. used instead of canvas for painting
P a l y . (Her.) In pictures on. English panels are to be
heraldry a field is preferred to any others, as they do not
said to be paly when spoil under the influence of atmospheric
it is divided into changes, ι
several equal parts Panel-picture. A name given to a
b y p e r p e n d i c u l a r picture painted not upon canvas but
lines. These equal parts are alter a piece of wood or p a n e l Panel-
286
PAN ART DICTIONARY. PAN
pictures were painted by the earliest the 14th century, and represents an
artists, and many specimens are to be artist painting a panel-portrait of her-
seen in every picture gallery. T h e cut self, scanning her own features in a
we give here is from a manuscript of mirror.
Pannel. (Her.) A common charge of that time exhibitions of this kind have
occasional occurrence in heraldry, re- enjoyed unbroken popularity in Paris.
presenting a poplar-leaf. Pan- One of the most recent was a picture of
nels generally appear in num- the battle of Champigny, and was the
ber on a shield. Thus, for work of Détaille and de Neuville.
example, we might have the Pantheon. (Arch.) An ancient temple
following c h a r g e : Ten fian- consecrated to the worship of all the gods.
nels argent placed three, three, Athens and Rome, for instance, had each
three, and one. its Pantheon. T h e name Pantheon has
Panorama. A picture painted on can- also been given to buildings raised in
vas without any break in its continuity honour of the illustrious men of a nation.
and fixed against a circular wall. T h e Pantile. (Arch.) A curved tile used in
spectators stand in the centre of the roofing.
panorama upon a platform considerably Pantograph. An instrument by means
raised and in half darkness. A strong
light falling on the foreground, whether
it is painted or real, adds to the depth
and greatly increases the illusion. T h e
panorama was invented by Richard
Barker, an artist of Edinburgh, who in
the year 1788 exhibited a panorama of
that city. T h e exhibition was continued
in London, where views of London and
pictures representing the wars of Napo-
leon were shown. T h e first panorama
was seen in France in 1799, and since of which drawings may be either enlarged
287
PAN ART DICTIONARY. PAP
288
PAP ART DICTIONARY. PAR
spots which help to mark the planes and the most delicate qualities of the cut.
give strength to the rendering of certain Unfortunately vellum paper is far less
passages. Glass paper or emery paper solid than laid paper, and it easily gets
is used to sharpen the point of gravers. spotted with d a m p .
Paper, Emery. Paper covered with Paper, Whatman. A very solid kind
emery powder is used by artists to of paper, the grain of which varies from
sharpen pencils or steel points, and by fine to coarse. Whatman paper of a
cabinet-makers to give a smooth surface coarse grain is used by water colourists.
to wood. T h a t with a fine grain is used in print-
—, India. [India Paper.] ing editions de luxe, after having been
—, Japanese. [Japanese Paper.] submitted to a heavy pressure, so as to
—, Laid. A term applied to paper in soften the asperities of its grain. A thick
which the wiremarks, watermarks, or kind of Whatman forms an excellent
imprint of metal threads, which rested mount for prints or drawings.
on the damp paste during the process of Paper Hangings. From the 18th cen-
manufacture, are still to be seen. Laid tury paper printed with variously co-
paper is solid, of great resisting power; loured designs has entirely taken the
it lends itself admirably to the printing place of tapestry, leather, and other
of line engravings, but its use in taking costly materials which were previously
proofs of vignettes in relief should be used as hangings. T h e earliest wall-
discountenanced. papers were obtained by a process of
—, Parchment. Paper immersed in stencilling, the later have been printed
a solution of sulphuric acid, which gives from wooden blocks upon which the
it the appearance of parchment. This design has been cut. A separate block
kind of paper is used as a covering for is used for each colour, and the more
books. costly papers are printed by hand, the
—, Tissue. A transparent paper which cheaper ones being printed rapidly in a
is used for laying over engravings for machine.
tracing and other purposes. It is Papier Mâché. A material composed
generally made from the refuse of flax- of paper pulp sometimes mixed with size,
mills. which is reduced to a plastic mass and
—, Tracing. Tracing paper, such as then pressed in moulds into various
is used by artists, is obtained by soaking shapes. It is then dried, varnished, and
ordinary tissue paper in turpentine or painted, and various small ornaments
varnish. T h e process gives it a glazed may be made from it. It seems to have
surface, and enables it to be drawn on been first made in Paris about 1740.
without tearing or cracking. Parabola. A para- -w^
—, Transfer. A paper coated with a boia is a curve which ^V I
special preparation from which tracings results from the sec- 3 Λ* ι
may be obtained on a lithographic stone tion of a cone by a J
or a plate of zinc. A drawing is made plane parallel to one / J
upon the paper, which is then slightly of its sides. * I
damped, laid upon the stone or plate, Paraboloid. A surface produced by
and submitted to pressure. A perfectly the revolution of a parabola.
accurate tracing is the result. Parallel. Two lines in the same plane
—, Vellum. Vellum paper is a strong are said to be parallel
paper without any grain, as uniform if, when produced ever mi
and satiny as possible. When of a good so far both ways, they never meet.
quality it is excellent for taking proofs T h e term is also applied to similar things
of engravings in relief, as it reproduces placed symmetrically, to subjects of
289
PAR ART DIC riONARY. PAR
similar outline which form pendants to and outside houses of the 16th and 17th
one another, or to parts of a building of centuries. In many English towns fine
the same proportion. specimens of pargetting are to be found,
Parallelipiped. A solid figure bounded often in very high relief.
by six rectangles or six squares. In the Parian Marble. [Marble, Parian.]
latter case it is termed a right paralleli- Parody. A burlesque imitation or re-
piped. T h e cube is a parallelipiped. production. To parody the manner of
Parallelogram. A four-sided figure, an artist is to reproduce sketches of his
the opposite sides of works, in which his style and touch are
\ \ which are equal and so exaggerated as to produce a grotesque
parallel. T h e lozenge and ridiculous effect.
(q.v.) is a parallelogram, the four sides Parthenon. T h e great temple built in
of which are equal. honour of Pallas Athene, which stood on
Parapet. A wall or barrier about breast the Acropolis at Athens. It was built in
high, which runs along the edge of a the 5th century B.C. by Ictinus ; in its cella
balcony, a platform, or bridge, or pro- or shrine stood the famous gold and ivory
tects the top of a house or church. statue of the goddess, while its exterior
Parallel-ruler. A contrivance consist- was adorned by the magnificent sculp-
ing of two rulers, connected by metal tures designed by Pheidias himself, some
hinges, which enable the rulers to be of which are now to be seen among the
Elgin marbles in the British Museum.
Parti pris. A French term for which
there is no exact equivalent in English.
It denotes the method in which an artist
placed at various distances from one has chosen to distribute the light of a
another. By the use of the parallel-ruler picture, to conceive a scene, to compose
parallel lines may be drawn without the or treat a subject. Thus we may say of
aid of the square. a picture that it lacks parti pris.
Parastate. (Arch.) A term applied Partizan. A long staff surmounted by
indifferently to pilasters, pillars, and a broad blade, somewhat resembling a
pied-droits (q.v.). spear-head, but with an ornamental pro-
Parcae. [Fates, The.]
Parchment. T h e skin of a sheep or
goat, which is prepared and polished
with pumice stone and used for several
artistic purposes. Old manuscripts, for
instance, were executed on parchment,
as well as gouaches and miniatures.
Expensive works are sometimes printed
on it, while it is admirably adapted for
taking proofs of line engravings. A paint-
ing is said to have a parchment tone
when it is a yellowish white, suggesting
new parchment, or a yellowish grey, sug-
gesting old parchment.
Parclose. (Arch.) T h e circumference
of a church stall.
Pargetting. A term applied to the
decorative figures, foliage, and garlands jection on each side of it. It was in its
of plaster, which are found both inside origin a weapon of war, but like the
290
PAR ART DICTIONARY. PAS
halberd and some other weapons, it was set apart for catechumens and peni-
early degenerated into a mere mark of tents. In the Middle Ages the term
dignity. parvise was reserved for a space shut in
P a r t y per. (Her.) These words are with low walls or railings in front of the
used to denote that the shield is divided,
and are followed by a word explaining
how the division is made. T h u s the
291
PAS ART DICTIONARY. PAT
Paste. (Pot.) A mixture of various pictures may best be described as
substances ground and blended from pleasant pastiches of the ancient
which porcelain is made. T h e term masters.
Paste is also applied to glass, coloured Pastoral. T h e term pastoral is applied
by rock crystal, so as to imitate gems. to pictures in which conventional shep-
From this paste facsimiles of ancient herds and shepherdesses play a part.
engraved gems have been obtained both T h e works of Watteau and Boucher are
in ancient and modern times, and the among the most celebrated pastoral pic-
copies are often so accurate that they tures.
even deceive connoisseurs, From an — Staff. (Her.) This term is applied
artistic point of view they are often not to the staff which priors and abbots
a whit inferior to the originals from often employed as a crest
which they are copied. to their shields. In earlier f!
Pasteboard. A material composed of times it was surmounted f~" '" \
several sheets of paper pasted together with a cross-piece, so as
and compressed, so as to form a close, to form a Tau ; later on
compact body. It is used for several a globe was substituted
artistic purposes, such as drawing for the cross-piece. In
u p and mounting prints or water- processions the pastoral
colours. staff was carried behind
Pastel. (Paint.) A process of drawing the shield of the prior of the convent.
in colour, in which variously coloured Paten. A vessel used in the services
crayons are used. T h e pastel is drawn of the Catholic Church. It is on the
upon paper with a rough surface or upon paten that the host is laid before the
a canvas covered with a kind of dis- communion. Considering the purpose
temper. T h e colours are laid on with which it serves, it is not surprising that
hard crayons, while the lights, masses,
and planes are indicated with soft
crayons, which can be crushed and
spread with the finger or stump. Draw-
ings in pastel are easily effaced. Their
whole surface may be destroyed with
one stroke of the brush. They there-
fore should be set with a special fixative
and be carefully shielded from air or
damp, and even placed under glass, if it
is desired to preserve them. The
crayons used in pastel drawing have a
basis of pipeclay or gum arabic, accord-
ing as the colours to be mixed are soft
or dry. A box of pastels generally
includes thirty crayons, hard, medium,
and soft, giving for each colour the
gradation of tints from white to the the paten was in olden times frequently
natural tone. engraved or enamelled, and sometimes
Pastiche, Pasticcio. The imitation of brilliant with jewels. Our cut repre-
a work of art, in which the reproduction sents a paten, now in Cliffe Church,
either of the work of a particular master Kent.
is aimed at or of the details and char- Patenôtre. (Arch.) A system of orna-
acteristics of a school. Many modern ment consisting of rows of chaplets or
292
PAT ART DICTIONARY. PAU
garlands made up of small round or in bronze we find a green blue patina
oval seeds. or rust, which allows the masses of
Patera. An open shallow dish or brown metal, as well as the brilliant
saucer, which was used by the Romans spots which reflect the light, to be seen
through it. This patina is obtained
artificially by the forgers of ancient
works of art, by plunging metal objects
in a bath of acetic acid, chloride of
sodium, and hydrosulphate of ammonia.
T h e term is applied in painting to the
tone assumed by the varnish which
covers a picture after several years'
for holding liquids. The special purpose
exposure to the light. Time gives to
to which the patera was put was to
some pictures a patina of an exquisitely
contain the wine which was to be
delicate tone. By an extension of mean-
ing, the soft, mellow appearance which
works of art gain under the influence of
various atmospheric conditions or under
the influence of particles of dust is
called patina. For instance, marble
statues or buildings may be covered
with a patina, which gives them a har-
monious appearance.
Patina. (2) A vessel, generally of
earthenware, considerably deeper than
rzx 7
the patera (q.v.). It was used by the
poured over the head of a victim in a Romans for a variety of domestic pur-
sacrifice. poses.
In architecture the term patera is Patte. (Paint.) In the slang of the
applied to an ornament which consists French studio avoir la patte is to com-
bine a ready skill of hand with spirit
and energy. An artist is said to have
une patte de diable, when he paints pic-
tures with an astonishing cleverness,
which is great enough to cover a thou-
sand faults of drawing or composition.
Paul, St. St. Paul is frequently repre-
sented in art. His invariable attribute
of a circular rosette, the outline of is the sword, and he appears as a man
which suggests the form of the ancient of short stature and bearded. Among
patera. the incidents in his career which have
Patina, (i.) A green crust, formed of suggested subjects to painters may be
carbonate of copper, or verdigris, which mentioned his persecution of St. Stephen,
appears on the surface of bronzes his conversion, and his martyrdom. His
exposed to the air. On ancient works conversion has been treated by Raphael,
293
PAV ART DICTIONARY. PED
Michael Angelo, and Rubens. St. Paul aldry the word is confined to the case
too, is often represented in conjunction when the limb is cut off below the
with St. Peter middle joint, and if more of the leg than
Pavilion. (Arch.) A term applied to this is shown it is called a. jambe (q v.).
small shelters of picturesque design, to Pax. A plaque of metal, sometimes
little houses circular in form, sometimes square,
standing apart which in the services of the Church was
in gardens, or first kissed by
to large spaces the officiating
covered and priest and then
glazed, and carried round
symmetrical in for the worship
form, which protect a square or market. pers to kiss. It
Pavimentum Sectile. (Arch.) A name was damascen
given by archaeologists to mosaic pave ed, engraved,
ments, composed of fragments of or ornamented
coloured marbles of various shapes, but with nielli, and
always arranged so as to form geometri the subjects
cal combinations. generally repre
— Sculpturatum. A pavement sented on the pax were the crucifixion,
covered with designs, the outlines of the head of Christ, or the Lamb. From
which are obtained by engraving and the pax of Maso Finiguerra were struck
by filling the hollows made by the graver the first line engravings known to us
with black mastic. This method of [Niello.]
ornamenting floors was practised by Payne's Grey. (Paint.) A compound
the Romans, and carried to perfection colour of a lilac grey tint.
by the Italians. A fine specimen of the Peacock. In classical art the peacock
pavimentum sculpturatum is to be seen is the attribute of Hera (q.v.) or Juno.
in the Duomo of Siena. In the Christian art of the Byzantine
— Tesselatum. A mosaic floor com period it symbolizes the resurrection.
posed of uniform and regular cubes of Peau. (Her.) This fur differs only
variously coloured marble, arranged in from ermine in the tinctures of its field
geometrical patterns. and spots, which are sable and or respec
— Vermiculatum. A mosaic floor tively. It is thus the reverse of erminois
ing, in which subjects drawn from the (q.v.).
natural world are represented by means Pe d e s t a i .
of small pieces of coloured marble of (Arch.) A sup- «ψ;
different shapes and sizes, so arranged port, upon which <^r
as to follow the outline of the figures or a statue is placed.
ornaments represented. It is generally
Paving. (Arch.) T h e covering of the
horizontal surface of the ground with
slabs of stone or marble, squares of
terra-cotta, or cubes of
wood laid in a bed of as
phalte.
Paw. (Her.) T h e lower
part of the leg of the lion
or any other animal is
called a paw. In the language of her square, and is provided with mouldings,
294
PED ART DICTIONARY. PED
a base, and a cornice. T h e square part estai i: placed supporting a bust or
is termed the dado. Pedestals upon statue.
which statues stand in gardens are Pediment, Circular. A pediment, the
sometimes cylindrical or cut cantwise. cornice of which de-
Pédicule. (Arch.) An isolated pillar scribes an arc of a
serving as a support; for instance, the circle. In the 17th
pédicule of a baptismal font ; also the and 18th centuries
crowning of a pointed arch upon which a this form of pediment was in frequent use.
statuette is placed. —, Couped. A pediment is said to be
Pediment. (Arch.) A crowning of a couped when its
building formed of two portions of oblique summit is bro-
cornices or a circular portion which meets ken, so as to give
the cornice of the entablature at its ends. room for a vase,
T h e façade of ancient temples was always statue, bust, or
terminated by a pediment, the two sides other ornament.
of the pediment marking the slope of the —, Double. When one pediment is
roof. Mediaeval buildings, too, were inscribed in another, the two are said to
frequently surmounted by a pediment, form a dou-
which, however, was b 1 e ρ e d i-
generally known as ment. T h e
a gable (q.v.). T h e g r eater
pediments of the serves to
Renaissance period are as a rule circular crown the
or broken. T h e pediments of ancient entablature, the lesser to crown an open
temples were generally filled with groups ing or ornament set within the greater.
of statues, which together represented —, Open. A
some subject drawn from classical my- ρ e d im eη t
thology For instance, on one of the pierced by an
pediments of the Parthenon was repre- opening
sented the birth of Athene from the head which is
of Zeus. Pediments were surmounted moulding encircling a bull's-eye.
with Acroteria (q.v.). —, Surbased. A flat pediment, the
—, Angular. A pediment, the outline angle of which is larger than a right
of which is form- angle. T h e majority
ed by two oblique of ancient temples,
cornices and a the façades of which
horizontal c o r - were of considerable
nice. Pediments breadth, had surbased pediments.
of this form are —, Surmounted. A pediment, the
generally decorated with finials placed angle of which is less than a right angle.
on their summit. —, Triangular. A pediment in the form
—, Broken. A pediment, the lateral of an equilateral tri-
c o r n i c e s of angle. This kind of
which termin- pediment as well as
«ate in volutes the surmounted pedi-
or are cut off ment were frequent-
from the cen- ly employed by the
tre of the pedi- architects of the
ment, so as to Renaissance. Many
leave an empty space, in which a ped- chateaux of this period have dormers
295
PEL ART DICTIONARY. PEN
with triangular or surmounted pedi- round or semicircular, in which latter
ments. case it was termed lunata. It was car-
Felasgic. (Arch.) T h e term Pelasgic ried by Asiatics, and Amazons are fre-
is applied to the earliest remains of quently represented peltatae, or bearing
architecture known in Greece, to which the pelta.
the name Cyclopean (q.v.) is also given. Pen and Ink Drawing. T h e universal
Pelice. (Pot.) A form of Greek vase, adoption of the various processes of
more tapering than the amphora, which engraving has done much to encourage
pen and ink drawing, simple drawings
in black and white being easily repro-
duced. Steel pens, the fineness of which
varies with the kind of drawing which is
to be executed, have now generally re-
placed the old-fashioned quill. Some
artists use reeds sharpened to a point,
goosequills,or even hair brushes charged
with ink, to add a few vigorous touches
to pen and ink drawings.
Penates. T h e household gods of the
Romans were called Penates. With the
Lares (q.v.) they resembled the patron
saints of Catholic times. They were kept
in the lavavium, and sacrifices were
offered in their honour. They are re-
presented in art sometimes as old men
fully draped, sometimes as youths hold-
ing a patera and a horn of plenty.
Pencil. A pencil consists of a thin strip
of graphite or plumbago inserted in a
it resembles in other respects. It has cylinder of cedar-wood. T h e best are
two handles connecting the neck with manufactured from Cumberland lead.
the body of the vasç. They are used by artists for making
Pelta. A light shield of wicker or rapid sketches upon paper. T h e term
wood, covered with leather, but never pencil is sometimes applied to the small
hair-brushes, set in metal ferrules, which
are used by water-
colourists.
Pendant. In Gothic
architecture the term
pendant is applied to
a boss or other or-
nament which hangs
downwards from a ceil-
ing or roof. Pendants
are most frequently
found at the intersec-
tion of vaults. In ano-
ther sense a picture or
piece of sculpture may
strengthened with metal. It was either be said to be a pendant to another, when
296
PEN ART DICTIONARY. PEP
it is similar in size and subject and competitors in the pentathlon are fre-
designed to fill a similar space. quently represented on painted vases.
Pendant, Post. In Gothic architec- Penthouse. (Arch.) A shed or roof
ture a pendant post is a post set against with a single slope fixed to the wall of a
the wall, its upper end being connected
with the tie-beam while a corbel or
capital supports its under side.
Pennon. A small narrow flag either in
the shape of a tapering triangle or of a
swallow's tail. In the
Middle Ages it was
usually fastened to the
end of a lance, and if building by its upper edge. T h e term
arms were blazoned on pent-roof is applied to any roof arranged
it they were so depicted on this plan.
as to be upright, when Penumbra. T h e penumbra is that part
the lance was carried horizontally. of a shade in which
P e n t a d e . A mystical figure consisting there is a spot of light
due to divergent rays.
At the point at which
the light blends with
the shade the lines be-
come less hard and less dry.
Peperino. A conglomerate of ashes
and small stones, of volcanic origin, much
used under the name of lapis albanus by
the Romans for building purposes. It is
of two triangles, the one superposed on grey in colour, somewhat tinged with
the other as in our cut. green, and it is quarried at the present
Pentadecagon. A geometrical figure day at Marino.
which has fifteen sides, and therefore fif- Peplum. (Cost.) A long robe worn by
teen angles.
Pentagon. A polygon with fifteen sides
and fifteen angles.
Pentaptych. A painted or sculptured
panel, which consists of five leaves folded
one over the other. Some authors give
the name of pentaptych to a triptych,
when the two leaves which fold over the
centre leaf are each formed of two
panels.
Pentathlon. T h e pentathlon was the
most highly esteemed of all the athletic
contests of the Greeks. As its name im-
plies, it consisted of five "events"—run-
ning, jumping, discus and spear throw-
ing, and wrestling. Whether the prize
was given to the man who won the
" odd event," or was reserved for the vic- Greek women, very similar in construc-
tor in them all, is a matter of doubt. T h e tion and arrangement to the palla (q.v.)
20 297
PER ART DICTIONARY. PER
of the Romans, which has already been formed present an opportunity for deco-
described. ration. T h e roofs are generally some-
Peribole. (Arch.) T h e exterior circum- what flat, and the general impression
ference of a building, also the space given by a building of this style is one of
surrounding an ancient temple, which horizontal and perpendicular lines.
was decorated with statues, altars, and P e r p e n t . (Arch.) A course of stones,
votive offerings. the thickness of which is equal to the
Peridrome. (Arch.) A covered gallery thickness of the wall ; thus t h e two
running round a building.
Peripteral. (Arch.) An ancient
temple is said to be peripteral when it
is surrounded on all sides by free
columns. T h e colonnade thus formed
is termed the peripteros.
Peristyle. (Arch.) A colonnade run-
ning round the interior of a courtyard.
An ancient temple is called peristyle
when its interior is adorned with a row
of columns. In Roman domestic archi-
tecture the peristyle was the central
courtyard, surrounded with a colonnade,
through which entrance was gained to opposite faces of the stones form the
the private apartments. two vertical sides of the wall.
Perpendicular, (i) T h e perpendicular Perron. (Arch.) An outside staircase,
direction is that given by the force of a series of
gravity. A figure is said to be out of steps pro-
the perpendicular when the vertical line jecting from
which marks the centre of gravity falls a façade or
outside the middle of the base of this connecting
figure. Such is the case with certain the terraces ·
antique statues, the Venus of Milo for of a garden,
instance. A monument is said to be which are situated on different levels.
out of the perpendicular when its vertical Persienne. (Arch.) A shutter
lines do not coincide with those given by which lets in the
the plumb-line. T h e most celebrated daylight. A kind
example of this is the Leaning Tower of pierced frame,
of Pisa. made up of slips
Perpendicular. (2.) (Arch.) This of wood inclined
term denotes the style of Gothic archi- at an angle like
tecture which was in vogue in England louvre-boarding.
from the end of the 14th century until Persephone. Persephone, the daughter
the middle of the 16th. T h e follow- of Zeus and Demeter, was carried off to
ing are some of its main character- the lower world by Hades, whose bride
istics. Its arches are depressed and she became. Her mother, Demeter
belong to the varieties of arches known (q.v.), sought for her over the whole
as obtuse pointed and four-centred. earth, but found her not. At last
Mouldings are angular, and windows Hermes went to the lower world to look
are crossed by transomes. A square for her, but she had then eaten half the
label is generally found over arched pomegranate which Hades had given
doorways, and the spandrils thus her, and so she could only return to the
298
PER ART DIC "IONARV. PET
upper world for half of each year. She ting the objects represented in perspec-
is represented in Art as somewhat tive, the position and outline of the
resembling Demeter, but younger. Her shadows is represented.
attributes are a pomegranate and ears Perspective, Parallel. When an ob-
of corn and poppies. ject presents a face or side towards the
Perseus. Perseus, the slayer of the spectator, its representation is deter-
Gorgon, Medusa, and the rescuer of mined by the rules of parallel perspec-
Andromeda from a sea-monster, has tive.
suggested many subjects to artists both —, Visual. When we speak of visual
ancient and modern. T h e earliest perspective in a picture, we mean that
known representation of Perseus is on the artist has got very near to an appear-
one of the metopes of a temple at ance of reality, without having recourse
Selinus, which belongs to the 7th cen- to any theoretical rules, and without
tury B.c. H e is there shown as cutting the strict application of the laws of
off Medusa's head. Among the latest geometry.
works of art which deal with Perseus Pestle. (Paint.) A piece of crystal,
are a series of designs by Mr. Burne- marble, or porphyry, which resembles a
Jones. Perseus is easily recognisable truncated cone in form. It has a plane
in artistic representations as he carries surface, with which colours placed on
the Gorgon's head and a curved sword,
and wears wings on his heels and head,
Perspective. Perspective is the art of
representing upon a plane surface
objects as they appear to the eye of
the spectator from one fixed point.
—, iErial. T h e art of indicating the
relative distances of objects by means of
a gradation of tone. T h u s due diminu-
tion should be given to the strength of a block of marble are ground. Pestles
the light, shade, and colour of objects are made in all sorts of shapes. Some
according to their distances, the quan- are large enough to be held in both
tity of light received by them, and the h a n d s ; these are used for grinding
medium through which they are seen. colour to be used in oil-painting. On
—, Isometrical. A perspective draw- the other hand the pestles used by
ing, the purpose of which is to indicate in
the representation the relation which
the dimension of the actual object bears
to the dimension of the object as repre-
sented.
—, Linear. A branch of science which
enables us to represent upon a plane painters in enamel and on porcelain are
surface, by means of a geometrical very small ; they are provided with a
drawing only, solid bodies as they handle, and grind the colours in small
appear to the eye, their proportions and saucers of marble or agate.
dimensions being determined by their Pétard. (Paint.) In the language of
relative distance from the spectator and the studios of Paris, tirer in petard is
the position in which they stand with to produce a work which is purposely
regard to him. eccentric and is designed to attract the
— of Shadows. A branch of per- attention of the public to its author.
spective by the aid of which after put- Similarly a picture is said to be too
299
PET ART DICI 'ONARY. PHE
300
PHI ART DICI ÏONARY. PHO
301
PHO ART DICTIONARY. PIC
302
PIC ART DICTIONARY. PIE
frame should be designed to suit the the absence of the commonplace, may
picture which it is intended to fit, if the be called picturesque. Thus there is
picture is to have its proper effect, but picturesqueness in a limited sense of
unfortunately the general practice is to the word in ruins, cottages, &c. In the
make all picture frames uniform in sub- broadest application of the term it may
stance and design. The picture frames be said that everything that is paint-
of the Renaissance and the periods of able is picturesque.
Louis XIV., XV., and Piece-mould. In taking a cast of a
XVI. were of carved statue or model in plaster of Paris, the
wood and of consider- wet plaster of Paris is put on and removed
able artistic merit. in pieces. T h e mould thus formed is
Modern frames are called a piece-mould, the pieces being
usually made of wood fitted together before the mould is used
or pasteboard, some- for obtaining a cast.
times gilded and de- Pied-droit. (Arch.) A term applied to
corated with mouldings. T h e ma- the vertical part of a
jority of them, however, are manu- wall supporting an
factured wholesale, and lack char- a r c h ; also to the ver-
acter. During the last few years a new tical sides of an open-
system of framing has been introduced, ing of a bay. In this
in which plush, velvet, satin, sack- sense the term does not
cloth, Japanese stamped leathers, differ from jamb. In
and other ma- the Romanesque style
terials, have jamb-stones are some-
played an im- times found in the form
portant part. of pilasters or square
In F r a n c e or prismatic pillars without any colon-
frames cover- nette at their angles.
ed with these Piedouche. (Arch.) A pedestal of small
materials have dimensions and of a peculiar shape
long been popular. T h e hard and fast used for supporting a bust. Piedouches
rule which the Royal Academy im- generally consist of a large hollow mould-
poses on exhibitors of framing their ing, enriched above and below with pro-
pictures in gilt frames has checked the jecting mouldings. Of late years, how-
ingenuity and taste of English artists in
this direction.
Picture, To make a. A scene or
group which composes well and hangs
together is said to make a picture. A
composition fails to make a picture when
it is unhappily conceived and badly
arranged.
Picturesque. All manifestations of
nature which have effect, relief, and ever, many sculptors have adopted the
colour, or indeed are worthy to inspire a fashion of cutting off busts abruptly and
work of art, are said to be picturesque. setting them upon a square piedouche
" Design, relief, and colour make up without any moulding or decoration,
the picturesque Trinity," says a famous save a cartouche bearing an inscrip-
art critic. All that charms us by its tion.
aspect and arrangement, as well as by Pier. (Arch.) T h e term pier may be
303
PIL ART DICTIONARY. PIL
applied to any vertical support, such as T h e proper description of the second
a pillar or column, cut is Argent, three swords in pile, their
or the wall between points towards the base.
two windows. In ar- Piles. (Arch.) A series of stakes driven
chitecture the term into the ground and held together at the
is now seldom used, top by a frame work of timber. They
but in the language serve as a foundation for masonry
of construction it is when the ground is damp or un-
frequently and widely
employed.
Pietà. A term ap-
plied to pictures re-
presenting the Dead
Christ. T h e Virgin and sorrowing wo-
men stand near, and sometimes the
Virgin holds the head of Christ in her
lap. stable. Works constructed in water are
Pilaster. (Arch.) A square support also built upon piles.
terminated by a base and a capital. In Pileus. A round felt cap, generally
Greek architecture brimless, which was worn by the an-
the capital of a cients. T h e Phry-
pilaster always dif- gian cap which Paris
fered from that of. a is represented as
column. In build-
er
ings of the Roman
and Renaissance
periods, on the other
hand, the capitals
of pilasters were
actual capitals of
columns drawn upon a square plane. wearing in the Aeginetan marbles is a
Pile. (Her.) T h e pile, which is classified I form of the pileus.
in heraldry as a subordinary, is a long Pillar. (Arch.) Vertical supports with
pointed stake extending from the top of or without decoration. They are espe-
the shield to the base. It is supposed
to represent the stakes of wood driven
304
PIL ART DICTIONARY. PIT
lars are frequently square and sometimes tury they are richly decorated and ter-
surrounded with columns. In the Early minated with pyramids, the edges of
English period they are round or cruci- which are ornamented with crockets,
form. In the 14th century they are sup- while their bases are flanked with smaller
ported on pedestals equal in number to pyramids. In the 14th century they are
the colonnettes which cluster round of extraordinary lightness, and in the
them. In the 15th century they lose 15th they consist of clusters of prisms
their capitals. and are terminated with pyramids in-
Pily. (Her.) A term applied to a shield tersecting one another. Finally in the
covered with piles. 16th century pinnacles are richly de-
Pinacotheca. A name given at Athens corated with sculptured figures, but
to the hall of the Propylaea, in which they are not executed with the skill
pictures were displayed. In the time of which is characteristic of the preceding
the Roman empire, when Greek art had period.
influenced the Romans, picture galleries Pinx. An abbreviation of the Latin
in private houses were called pinacotheca. word fiinxit. It often follows the name
T h e term has survived in modern times of the painter of a picture which is
to denote a museum of paintings, such, reproduced by the process of engraving,
for instance, as the Pinakothek at lithography, or photogravure.
Munich. Piscina. (Arch.) A reservoir or cistern
Pinchbeck. An alloy of copper, zinc, placed in the open air, and used by the
and tin, of a fine yellow colour which Romans as a swimming bath. In Gothic
readily adapts itself to gilding processes, churches the piscina was a basin in
and is much used in the manufacture of which the priest washed the chalice
cheap jewellery. This alloy got its
name from Christopher Pinchbeck, a
musical-clock maker, who plied his trade
in Fleet Street in the last century. He
invented the cheap imitation of gold by
which he will always be remembered.
Pink. A pale rose colour. T h e term
is also applied to a series of pigments of
a greenish yellow colour, obtained by
precipitating upon a base of chalk or
alumina the juice of a
plant known to botanists
as rhamnus fvangula.
[Italian Pink.]
Pinnacle. (Arch.) A
small bell turret in the
form of a pyramid upon
a polygonal base. In after administering the sacrament. It
buildings of the Ro- was either set against a pillar or placed
manesque style instead under an arcade, in which case it was
' of pinnacles we find generally richly ornamented.
very simple finials. T h e Pitch. (Arch ) T h e pitch of a roof
pinnacles of the n t h is its slope or inclination to the hori-
and 12th centuries are zon.
sometimes terminated Pitcher. A vessel for holding liquids
with a sort of cone. In the 13th cen- similar in shape and size to a jug.
305
PIT ART DICTIONARY. PLA
P i t h o s . A large earthenware jar Planchette. A tablet mounted upon a
somewhat resem-
bling an amphora
in form, but deeper
and rounder. Some-
times it had a nar-
row neck. Sometimes it was wide-
mouthed. T h e pithos was frequently tripod used by surveyors. [Alidade.]
of such huge dimensions that it could Plane. (Paint.) A term applied in art
easily hold a man. T h e tub in which to the different vertical surfaces parallel
Diogenes was said to have dwelt, was to the surface of a canvas, which, with
the aid of perspective, represents the
distances existing between a series of
objects and the eye of the spectator. If
a figure, for instance, is represented as
too near or too far, it is said to be out of
its proper plane. Of an ill-constructed
picture we say that its planes are not
sufficiently indicated.
—, Ground. T h e ground plane may
be defined as the floor of a drawing or
picture. It extends from the lower edge
of the picture to the horizon.
—, Horizontal. In a picture or draw-
ing a plane is said to be horizontal when
it is parallel to the lower edge of the
picture.
perhaps a broken, useless pithos ; at any —, Picture. T h e vertical plane upon
rate, it is represented as such in our which a picture or drawing is made. It
illustration, which is from a bas-relief is parallel to the spectators, and is repre-
in the Villa Albani. sented by the whole paper or canvas
Pix. A box or upon which the drawing is executed.
casket in which —, Vertical. In a picture or drawing
the consecrated a plane is said to be vertical when it is
wafer was kept at right angles to the ground plane of the
in the Catholic picture.
Church. It is ge- Planisher. A workman whose busi-
nerally of metal, ness it is to prepare copper plates for
and often richly engravers. H e also aids the engraver
decorated and en- in effacing, if necessary, any part of the
amelled. plate after it has been engraved. H e
Plan. (Arch.) A lowers the tone of those portions of the
term which in- plate which have been too deeply bitten
cludes geometri- in by striking it with a wooden hammer
cal drawings in so as to beat down the metal and lessen
general, and in particular drawings the breadth of the hatchings. H e may
which represent the projection of the also efface p a r t i of a copper plate, spar-
walls of a building upon a horizontal ing the rest of the work, and then beat
plane or the outline of the walls upon out the plate wherever the engraver
the ground wishes to engrave it afresh. When this
306
PLA ART DICTIONARY. PLI
has to be done the plate is held in a vice into use in the 14th century. It was
and beaten on the reverse side to that extremely heavy and unwieldy, but in
which has been effaced. some form or other it continued in fashion
Plaque. A fiat piece of metal, terra- until its uselessness was generally recog-
cotta, or china, upon which designs are nised, and it was finally abandoned in
executed by processes peculiar to the the 17th century.
material. Plaques of various kinds are Platinotype. ( P h o t ) A process of
and have been from earliest times a printing photographic proofs by means
popular form of decoration. of the salts of platinum. T h e proofs
Plaster-cast. A copy of a work of thus obtained are generally of a cold
sculpture, produced in plaster by me- black or sepia tone. Prints obtained
chanical processes. Thus we speak of by this process have many advantages.
a plaster-cast of the antique. [Cast.] They have not the glossy surface of the
Plastic Art. Plastic art is the art of ordinary photograph, and they are
reproducing the relief or form of an quite permanent.
object ; the art of modelling figures. In Plein Air. (Paint.) T h e plein air
plastic art such malleable materials as school is a school of modern French pain-
terra-cotta, clay, wax, and plaster are ters, whose creed it is to paint their pic-
used, while the creations of the plastic tures in the open air. In a studio lighted
artist may be afterwards translated into by a single light, which falls at a given
marble or bronze. T h e term plastic art angle, strongly-marked arrangements of
is used in opposition to graphic or picto- light and shade are always obtained ;
rial art. Bas-reliefs may be said to oc- when, however, the model poses in the
cupy an intermediate position between open air, the modelling of the planes is
plastic and graphic art. less positive on account of the wealth
., o - ^ ^ Platband. The of light, reflections, and luminous rays
^^f ni l»5 :::Ss >»*» 1 . upper part of a rect- which envelop it on all sides. Under
fj—fw~^-^ijS angular opening or these conditions, the modelling is only
*p-|-1 fSilfr* bay constructed of obtained by accurately observing the
PI '1
ashlared stones. value of the tones, and a projection,
Plate. (Engrav.) which, in the studio, would throw a
A piece of copper upon which an en- decided shadow, is only indicated in a
graver works is called a plate. Hence plein-air picture, by a tone-value help-
the impression obtained from an en- ing to detach it. Lastly, it must be
graved plate is itself termed a plate. added that the expression of plein-air
T h u s we describe an engraving as is not always used in a good sense.
an excellent plate, or we speak of a Some impressionists wishing to simplify
book illustrated with plates. T h e term things as far as possible, abuse the
is only applicable to impressions struck effects of plein-air : they dispense alto-
from steel or copper, and should never gether with modelling, which, in this
be used of wood-cuts. A plate is said to case — as many contemporary works
be worn when so many impressions have show—demands a skilful rendering, and
been taken from it that it prints pale an extensive knowledge of the value of
and indistinct. When a wood block is tones.
worn out a precisely opposite effect is Plinth. In architecture a plinth is a
produced, for it prints black. T h e pieces square block at the base of a column, the
of glass upon which photographic proofs purpose of which is to set off the circular
are obtained are also called plates. mouldings above it. In all the ancient
Plate Armour. Plate armour, which orders except the Doric the bases of
consisted of solid plates of metal, came columns are provided with a plinth. In
307
PLU ART DICTIONARY. POI
sculpture the plinth is the rectangular two or three dots or points at once.
or circular base These points are fixed in wooden
upon which a handles and are frequently blunted, in
statue is placed. order that the marks they make on the
T h e t i t l e s of plate may be the bigger. Engravers on
statues or other
inscriptions are
frequently placed
upon plinths. wood use a point which consists of a
Their chief purpose is to set the statue thin blade of steel. This is inserted into
at a proper elevation, so that the lower a haft of wood, cut in two, and bound
limbs of the figure are not concealed, together again with a twisted cord. T h e
and that the foreshortening does not wood engraver uses the point as a kind
alter its proportions.
Plumb. T h e direction of the plumb-
line is found by letting a weight attached
to a string fall freely to the ground. A
figure is said to be out of plumb when of knife for cutting away the block, so as
the vertical line indicating the centre of to increase the white, which in a wood
gravity falls outside the middle of the engraving ought to be deep enough not
base of this figure. Many ancient statues to be touched by the roller, with which
are out of plumb—the Venus of Milo, the parts in relief are inked.
for instance. A building is said to be out Point. (2) (Her.) T h e name sometimes
of plumb when its vertical lines do not given to a charge in the
coincide with the direction given by the form of a wedge with I A 1
plumb-line. T h e most celebrated instance broad end downwards, β ^ I
of such a building is the Tower of Pisa. occupying about a third JT \ I
Plumbago. A substance also known of the whole field. It is I / V I
as black lead, which is in reality a sul- not essential that the point V^BBs/
phuret of iron. It is used in the manu should rise to the top of v~
facture of lead pencils. the shield.
Pochade. A rough sketch, which may Point. (3) (Arch.) T o point is to mark
be easily and rapidly rubbed out. the joints and courses of the bricks or
Podium. (Arch.) A low projecting wall, stones of a wall
which was placed in Roman buildings by means of . *—
both outside and inside. A podium run
ning round the interior of a building was
often used as a shelf for wine casks, &c.
lines drawn up
on the wall.
Sometimes the
DE3C.
Point, (i) (Engrav.) Steel instruments pointings are
with a sharp tip are used by engravers painted in
and called points. In past times en several colours
gravers used and a flower
simple sewing is placed in the centre of each stone.
n e e d l e s as Pointed. T h e style of architecture
points, but generally called Gothic is also known
nowadays as Pointed or Christian Pointed. As
small steel vergettes fitted into a han one of its characteristics is the pointed
dle of wood are frequently employed. arch and window, this designation is a
In crayon engraving double and even correct and convenient one. The
triple points are used, so as to make Pointed style may be divided into three
308
POI ART DICTIONARY. POI
great periods : (ι) the primitive period, Moorish and Saracenic arch sometimes
in which the pointed arch assumed the assumes this form ; (d) the obtuse, which
lancet shape ; consists of two arcs of circles, the radius
(2) the second of which is less than the breadth of the
ary period, arch. This form of arch is character
which lasted istic of the buildings of the 15th century.
through the Pointing. (Sculp.) An operation, the
13th and 14th aim of which is to reproduce a plaster
centuries, and cast in a block of stone or marble.
coincides in T h e model and the block of marble are
point of time set side by side. Above each of them a
with what we generally term the Deco square of wood is placed, the sides of
rated style ; (3) the tertiary period, which which are marked off into equal spaces,
occupied the 15th and part of the 16th and from which a plumb-line is sus
centuries, when what we call the Per pended . This plumb-line may be moved
pendicular style and describes an imaginary parallelo-
flourished. The piped, within which are enclosed the
following are the roughed-in block and the model of the
principal varieties statue. T h e distance between the plumb-
of the pointed line and one of the most projecting points
arch : (a) the lan of the model is then measured, and this
cet, o r a c u t e ,
which was in
vogue in the 12th and 13th centuries.
This form of pointed arch was frequently
employed in the military architecture of
the Middle Ages, but its chief interest
for us is that
it is the dis
ti n g u i s h i n g
characteristic
of the Early distance is marked on the block. The
English style, block is then cut away with a chisel as
of which Salis far as the point marked, so as to obtain
bury Cathedral the necessary depth. By repeating this
is the most operation for all the projecting points
convenient example ; (b) the equilateral, taken in one plane a silhouette of the
which consists of two arcs of circles, the model is obtained, the exactitude of
radius of which is equal to the breadth which depends upon the nearness of the
of the arch at its springing line. This points taken to one another. Continuing
form of pointed the process for the other planes, an
arch was fre exact mathematical reproduction of the
quently em lines of the original is obtained, T h e r e
ployed in the is then nothing left for the sculptor but
14th century ; to give the marble its finishing touches
(c) the lanceo- before handing it over to the polisher.
lated, which
Point of Sight. If a line is drawn from
consists of two
the spectator's eye at right angles to it,
arcs of circles, which are continued below
it will meet the horizontal line of a pic
the line, in which the centres lie. T h e
ture in a point called the point of sight or
3°9
POI ART DICTIONARY. POL
centre of vision. This is t h e vanishing '< and the nombril point, making in all nine
point of horizontal lines which are at specified points.
right angles to the spectator. Polishing. T h e polishing of marble
Point, Station. T h e position selected statues is generally entrusted to work
by the painter in front of the object men, but the sculptor should watch the
which h e wishes to represent. If process with care. Fine touches may
his picture is to be a consistent easily disappear under the action of
whole, the station ppint must not be pumice-stone. T h e sculptors of anti
changed. quity sometimes polished their works
Point, Vanishing. [Vanishing Point.] with wax. Statues which are required to
Points of the Shield. (Her.) In order keep their polish are often covered with
to determine accurately the position of a light coat of varnish. Copper plates
a charge or a shield, heralds have which are to be engraved are polished
assigned names to certain points, and first with the scraper, then with sand
by mentioning these points the position stone, pumice-stone, and powdered
of a charge can be described with suffi chalk.
cient accuracy. T h e r e are altogether Polychrome. T h a t which is of several
nine points thus distinguished by special colours. Greek sculpture was poly
names. We must first explain that t h e chrome, that is to say, was painted in
upper part of the shield is called the a variety of tints. This was of course
chief, the middle the fess, and the lower done in a conventional spirit and with
the base. Again t h e side of the shield out any attempt at realistic colouring.
which would be on the right hand of any In modern times polychrome sculpture
has not been held in honour, yet several
A, the dexter chief.
attempts have been made to resuscitate
B, t h e precise
this branch of art, especially by French
s
miuuie ciiiei.
VT Β C ρ C, t h e sinister
chief.
sculptors, not only by colouring white
marble statues as in former times, but
D D, the honour
also by employing materials of various
colours. In ancient Egypt and Greece
point.
E E, the fess
buildings too were polychrome, and no
doubt richness of colour added much to
point.
F F, the nombril
the effect of temples such as the Parthe
non. Some portions of Byzantine and
point.
BiJ G, the dexter
Gothic buildings were painted, and their
mouldings and other details heightened
base. with colour and gilding, Nowadays
H, he precise middle base. there is a distinct prejudice against
I, the sinister base. the polychrome decoration of churches
one standing behind it is called the dexter and houses, and the effect formerly
side, and t h e other side is called t h e got by colour is now obtained by
sinister. W e have then the following the use of variously coloured mate
three points specified in the upper por rials, such as bronze, marble, tiles,
tion of t h e shield : dexter chief, chief, pottery, &c.
sinister chief. Similarly in the lower Polychromy. This term includes all
portion we have dexter base, base, sinister the processes of printing, decoration,
base. T h e central point of the shield is and colouring in which several colours
called the fess point, and the points im are used.
mediately above and immediately below Polygon. A geometrical figure which
are called respectively the honour point has several sides and several angle
310
POL ART DICTIONARY. POR
Polygonal. That which has the form ordinary magnificence. From the period
of a polygon.
Polyhedron. A solid figure presenting
many plane sides.
Polyptych. Under this term were
included, particularly in the Middle
Ages and during the period of the
Renaissance, altar-pieces and panels
311
POR ART DICTIONARY. POR
312
POR ART DICTIONARY. POT
attitude, and expression characteristic of vertically, which answers the same pur-
his model. pose in a wooden
Portrait, Bust. A representation, house or building as
painted or sculptured, of the head and a pillar does in a stone
upper part of the body of the sitter. construction.
—, Full-length. A portrait represent- Post-scenium.
ing t h e whole figure of the sitter from (Arch.) T h a t portion
head to foot. of an ancient theatre
—, Medallion. <- A portrait, in the form that is situated behind
of a medallion, representing only the the scenes.
head of the sitter, and this generally in Postern. (Arch.) A
profile. small gate by which
Portrait Gallery, National. A gallery foot- passengers were
founded in 1857, for the preservation admitted to a town
of the portraits of distinguished English or fortified castle. It was so narrow that
men and women. T h e collection includes only one person could enter it at a time.
painted and sculptured portraits, as In our cut, which represents the gate-
well as drawings, and provides a valu- way of a mediaeval stronghold, further
able commentary upon history. It has
not been treated with the respect it
deserves : it was for long housed in a
series of wooden sheds at South Ken-
sington, and then banished to Bethnal
Green, but the generosity of an anony-
mous donor has provided money for a
new building, and the collection is to be
worthily placed in Trafalgar Square.
Pose. T h e attitude assumed by a
painted or sculptured figure is termed
the pose. Gracefulness of pose is one
of the necessary conditions of artistic
success.
Poseidon. Poseidon was worshipped
by the Greeks as the god who controlled
the element of water. H e is represented strengthened by a drawbridge, the pos-
in art as a god closely resembling Zeus, tern is the small opening on the left-hand
except that his long hair is matted with side. When a building had but one gate
the salt sea. T h e horse is sacred to him, a small wicket which opened by itself
and his attributes are the dolphin and took the place of the postern.
trident. His contest with Athene for Potboiler. A so-called work of art, pro-
the sovereignty of Attica, on which duced, not because there is any artistic
occasion Poseidon called forth a spring fitness about it, but merely because it
of water while Athene made an olive- answers a popular demand, and so serves
tree to grow, was a favourite subject to keep its author's pot boiling, is not
with Greek artists, and was represented inappropriately termed a.potboiler. How
in one of the great pedimental groups of great is the excess of potboilers over
the Parthenon. T h e god of the Romans works of art among the thousands of
which corresponds to Poseidon is pictures annually exhibited, a visit to any
Neptune. modern exhibition will convince the most
Post. (Arch.) A piece of timber, set optimistic visitor.
21
POT ART DICTIONARY. POT
Potent. (Her.) This is one of the eight J tive vases figures of animals are some-
furs employed in heraldry. It consists I times found.
of a series of crutch-heads, upright and Pottery, Assyrian. T h e principal spe
inverted, and arranged cimens of Assyrian pottery known to us
|Jpjglb| jib] I m ^ e same way as the are bricks and tiles found among the ruins
Ι ΐ | Α J C l J l l upright and inverted of Babylonian temples. They are richly
Γ ί 1 Γ ^ £ ~ ^ 0 bells in Vair (q.v.). T h e j coloured and covered with a glass glaze.
p V f ^ Î j p ^ I term is derived from an Some curious coffins of baked clay, with
^l=yj^^ old English word ,pottent, I a green glaze, and figures of warriors
meaning a crutch. For embossed upon them, were found at
an illustration of an heraldic crutch- Warka in Mesopotamia, and remain our
head see Cross Potent. most interesting evidence of the skill of
Potiche. (Pot.) A Chinese or Japanese the Assyrian potter.
vase, generally of porcelain, with narrow —, Celtic. Celtic pottery generally
neck and slightly swel- consists of grey or blackish earthenware
§
ling body. Potiches were vases, very roughly made, and decorated
made of every possible with ornaments incised with a stiletto,
size, and were covered which was used upon the paste while it
with rich ornamentation. was still soft.
Ρ T h e Chinese use large —, Chinese. Chinese pottery takes us
| ft full-bellied potiches with very far back into the past. In very
F \ lids, which suggest the early times the Chinese made both stone
roofs of temples, to hold ware and porcelain, and to them belongs
their crops of tea. the credit of having invented crackle.
Pottery. T h e term pottery, strictly T h e most ancient decoration employed
speaking, only denotes that branch of by the Chinese was blue upon a white
the ceramic art which is devoted to the ground. Their polychrome pottery is
production of opaque ware, the term distinguished by a profusion of ornament
porcelain being reserved for translucent and by the introduction of dragons and
objects. However, in a general sense grotesque animals. It has been classed
we speak of all manifestations of the
ceramic art as pottery, and in the historic
summaries which follow porcelain is
treated of as well as pottery proper,
Further information on particular wares
may be looked for under separate head
ings. T h e potter's art is perhaps the
oldest and simplest of all arts. It needs
but few materials and no elaborate ma
chinery besides the potter's wheel, which
has retained very much the same form by some authors in several families.
in all ages and in all countries. Although this classification is purely
—, Arabian. Pottery was manufac conventional and has been upset by
tured by the Arabians from the 8th to recent discoveries, it presents the advan
the 14th centuries. It included tiles, with tage from a decorative point of view of
which walls and floors were covered, setting before us the colours and patterns
mosaics and vases, and other vessels of a adopted by the Chinese. It may therefore
blue or green glaze picked out with black. be useful to give the classification here :
T h e patterns mostly in vogue among the (1.) Chrysanthemo-Paeonian family : vases
Arabians are geometrical, but on decora- j decorated with chrysanthemums and
3H
POT ART DIC "IONARY. POT
peacocks. (2.) Green family : vases of a decoration employed was for the
copper green colour covered with his- most part geometrical, supplemented
torical subjects, rustic decorations, rocks, sometimes with such rude devices as
daisies, butterflies, insects, &c, all of animals' heads and hieratic symbols.
which have a hieratic signification. (3.) Besides cups, lamps, & c , statuettes of
Rose family : vases of a pale carmine the gods were made of earthenware by
red decorated with arabesques, bunches the Egyptians. Our two cuts, which will
of flowers and figures of a familiar give an idea of the decoration employed
character. These are the principal by the Egyptians, are taken from wall-
classes of Chinese pottery and porcelain. paintings at Thebes.
T h e r e still exist one or two which should Pottery, English. T h e earliest pottery
be mentioned, such as " reticulated " made in England was Staffordshire stone-
ware, in which the outer side is cut out ware. In the middle of the 17th century
in lace-like patterns and superposed on the art of making pottery which resembled
jan inner vase, and the very delicate that made at Delft was introduced into
transparent China known as egg-shell. England. Drug pots, tiles decorated with
Pottery, Dutcn. T h e earliest Dutch blue landscapes were made at Fulham
pottery was made at the Hague, but it was and Lambeth, as well as jugs, cups, and
at Delft that the finest specimens were other vessels. Factories were established
produced. At the latter town the manu- at Derby in 1750, and at Worcester a little
factory was established about the middle later, while in 1769 the celebrated Josiah
of the 17th century " at the sign of the Wedgwood opened his works, where
Metal Pot." T h e majority of the pieces he made vases, cameos, and medallions
were inspired by oriental models. T h e in the Greek style. Among his most
colours are bright and clean, and the finished productions was a copy of the
outline of the figures does not mix with ancient vase known as the Portland vase
the glaze. Blue decorations on a white (q.v.), which was decorated with white
ground are common, while many pieces figures on a green ground. H e also imi-
are brilliant with blue, white, and gold. tated Egyptian pottery in black biscuit,
—, Egyptian. T h e Egyptians manu- with red and white bas-reliefs upon it,
factured pottery in very early times. while his bas-reliefs and cameos of a bluish
grey ground decorated with designs by
Flaxman in white are justly celebrated.
—, Etruscan. A great many vases
ments and dull blue enamel. The have been found in Etruria and hence
3TS
POT ART DICTIONARY. POT
designated Etruscan. It has, however, They were of a fine hard paste, decorated
been established beyond doubt that these with designs of brown and black upon
vases were not the work of Etruscan an ivory ground. Their ornamentation
potters but were manufactured in Greece consisted of figures in relief or in the
and exported thence into Etruria. T h e round, masks, and heraldic devices ; the
term Etruscan pottery cannot therefore pieces were small and slight, and assumed
be applied to them with propriety. the forms of cups, ewers, &c. Pottery
—, French. T h e earliest French pot- has also been made at Nevers, Rouen,
tery was derived from the Italy of the Moustiers, Marseilles, Paris, and Sceaux,
Renaissance. T h e first productions of among other places, while the chief cen-
French potters were of simple earthen- tres of the manufacture of porcelain in
ware with a lead glaze. T h e n came the France are St. Cloud, Sèvres, Chantilly,
products of Beauvais, which were of and Vincennes. Our cut represents a
tea-cup ornamented with bleu-de-roi
manufactured at St. Cloud.
Pottery, Gallo-Roman. T h e vases
made in the Gallo-Roman period are
more careful in execution than those
of the Celtic period ; their outline is
more graceful and they are decorated
with ornaments in relief.
—, German. T h e following are the most
important centres of the manufacture of
pottery m G e r m a n y : (i.) N u r e m b e r g ;
316
POT ART DICTIONARY. POT
V7
POT ART DIC TIONARY. POT
what archaic in style ; after 460 B.C. vases enamel. In the next century it was
were generally red-figured and less con- characterised by metallic lustres. This
ventional in style and execution. T h e was succeeded by the pottery of Lucca
various forms assumed by Greek vases della Robbia, which was modelled in
are given under their separate headings. terra-cotta and ornamented with religious
Pottery, Hispano-Moorish. This pot- subjects in blue and white. T h e n came
tery is characterised by its grace of form the enamelled ware known by the name
and the metallic lustre of its tones. T h a t of majolica, with its wonderful colours
made at Malaga is, distinguished by its and lustres. T h e most celebrated centres
blue ornament and copper lustre; of the industry were Siena, in Tuscany,
that of Valencia by its still more brilliant Faenza, Forlì, Rimini, Ravenna, Bologna,
metallic lustre, heightened with yellow Castel-Durante, Gubbio, Ferrara, &c.
and reddish gold. T h e faïence of Majorca Pottery, Japanese. There are three dis-
gave its n a m e to Italian majolica. tinct kinds of Japanese pottery : faïence,
—, Indian. T h e art of making pot- soft paste stoneware, and porcelain. T h e
tery was derived by the Indians from most highly prized faïence is Satsuma,
Persia. Among specimens of Indian which is decorated with figures, flowers,
pottery may be enumerated large pieces birds in gold and silver, on a creamy
of enamel, monumental in size, and exe- white ground, covered with a very fine
cuted in brilliant and varied tones ; blue crackle stoneware, sometimes glazed
porcelain, decorated with arabesques, and sometimes not. We find cups, tea-
flowers, and birds ; and polychrome por- pots, statuettes, grotesque figures, and
celain, which resembles the choicest pieces of a violet brown incrusted with
cloisonné enamels, incrusted with gold designs executed in white. Japanese
and precious stones. porcelain is of the same character as
—, Italian. From the n t h to the 13th Chinese, but is easily distinguished from
the latter by the character of its decora-
tion, which is never absolutely symmet-
rical, but which is remarkable for the
excellence of its design and the brilliance
of its colour.
—, Persian. Persian pottery consists
for the most part of enamelled faïence,
of a white, yellow, green, or pale blue
ground, covered with designs of turquoise
or cobalt blue. Its ornamentation in-
cludes geometrical figures, flowers, birds,
butterflies, hares, gazelles, antelopes,
and cavaliers with falcon on wrist. Per-
sian faïence is characterised by unrivalled
harmony of tones.
—, Roman. T h e domestic pottery of
century Italian pottery was covered with the Romans was red in colour, about the
318
POU ART DU TIONARY. PRE
tint of sealing wax. It had a brilliant small bag containing a coloured pow
lustre and was of a very fine grain. der is passed over
Many specimens of it have come down the sheet of paper, ..·;:·*·:,'!!!'.!;;;.^·.'.ν:::
to us in an admirable state of preserva and the powder set- '·'/;· ( "· :':.;.\ '·· : : ; : -
tion. Architectural ornaments, such as tling in the small '.]-•'. :;·.,'"": / ·:
apertures indicates ' · -/.:!j- *"V \ %( "';.··;
the outline which ·*•/ ; V '*·.. ' : · ; . .·
it is desired to re- ''·:·.': : ' ' ; * · · · ^
produce. This pro
cess is used to transfer to canvas sketches
made upon paper, or to obtain an exact
repetition of a system of ornament.
Poussinesque. (Paint.) A term used
antefixes, metopes, bas-reliefs, & c , were in French art criticism to describe a
made of earthenware by the Romans, and landscape painted in the manner of
may be classed among the products of Poussin, that is with the dignity of the
the potter. classic convention.
Pounced Pattern. A well-defined out Précieux. A work of art may be said
line of a design executed on a sheet of to be précieux which unites a searching
paper of sufficient resisting power. T h e execution with delicate handling and a
process is as follows : the paper is pierced touch of exquisite fineness.
with a series of punctures placed as close Prefericulum. A shallow open vase,
together as possible. T o obtain a tracing in the form of a basin, generally of
of this outline, a pad in the shape of a metal, in which the utensils used in
some religious rites of the ancients were revival of the aims and practice of the
carried. pre-Raphaelite school about the year
Predella. T h e predella is the step 1850. They formed themselves into a
which projects beneath an altar-piece. band, which they termed the pre-
On it were generally represented either Raphaelite brotherhood, and pictures
three or five scenes from the life of the exhibited by them at the Academy were
saint who figured in the large canvas catalogued under the name of the artist
above it. followed by the letters P.R.B. Their
Premier Coup. [Alia Prima.] aims no doubt were sincere, and their
Preparation. T h e method in which a attempt at realism as falsely interpreted
picture is sketched on or a new canvas by the early Italians was earnest.
got ready by being covered with tones, Though the sum of their own achieve-
which are intended to give a value to the ment is not great, yet in bringing about
complete work. a reaction against the ignorance and
Pre-Raphaelites. T h e name Pre- vulgarity of the English school in the
Raphaelites was given to a small band fifties they did good work. Among their
of English artists who attempted a number were Rossetti, Millais, Holman
319
PRE ART DIC riONARY. PRI
Hunt, F. G. Stephens, J. Collinson, and little white and nut oil. In the present
Woolner. day some painters prefer to work on a
P r e s b y t e r y . (Arch.) T h a t portion of
canvas covered with a grey priming,
a church in which the high altar is consisting of a mixture of white lead and
placed and where the officiating clergy black, with a little linseed or nut oil
stand. Properly speaking it is east of added, while others leave the grain of
the choir, and is raised slightly above the canvas visible in some places. Oil
it. priming has the disadvantage of robbing
Présentoir. An ornament in vogue in the colouring of the picture of its viva-
the 16th century, which consisted of a city, but on the other hand it prevents
the canvas from cracking when taken off
the stretcher. At the same time it
should be remembered that Titian and
Veronese executed many of their oil
paintings without any priming at all.
Panels which are to be painted upon are
first of all sized and then covered with
several layers of white, so as to fill up
the pores of the wood. If pictures are
painted upon copper plates, the copper
is covered with a priming similar to that
used in preparing canvas, but a kind of
grain, to hold the colours, must then be
made upon it, either with the palm of
the hand or with a dabber covered with
taffetas.
Mural surfaces are primed for oil-
painting by being impregnated with
dish set upon a tall slender stem, as boiling oil and siccative colours, with
represented in the accompanying cut. linseed oil and varnish added. Some-
P r e s s . A machine by means of which times a coating of lime and powdered
the leaves of a book are printed or im- marble is laid on first. Plaster walls
pressions struck from an engraved plate. before being painted upon are covered
Special presses are used for typographic with a mixture of pounded brick and
and lithographic printing, as well as for resin.
the printing of line engravings, &c. Print. (Engrav.) A general term for
Press View. Before an exhibition is any proof printed from an engraved plate
thrown open to the public the gallery in or lithographic stone.
which it is held is given up for one Printing. (Engrav.) T h e process of
day to newspaper critics. This oppor- striking off copies from an engraved
tunity of seeing the pictures undisturbed block or plate. Proofs are printed from a
by the public is called the press view. wood block or from a metal plate in relief
Primary Colours. [Colours, Pri- by the ordinary methods of typography.
mary.] Line engravings, however, on steel or
Priming. (Paint.) A uniform layer of copper are printed in presses made
colour with which a canvas, panel, or especially for the purpose.
other painting surface is covered, so as —, Lithographic. In striking off proofs
to form a ground. In the last century of a drawing executed on a lithographic
painters generally primed their canvas stone, the printing ink only adheres to
with a layer of brown red, mixed with a those portions of the stone which have
320
PRI ART DIC TIONARY. PRO
been touched by the lithographic crayon gonal, & c , according as its base is
or thick ink. A pressure being exerted a triangle or a hexagon. A prism
on a sheet of damp paper, the printer's is said to be a right prism when
ink leaves the stone and adheres to the its sides are perpen-
paper. dicular to the plane <ζ^\.
Printing of Line Engravings. To ob- of the base and its W^î^ïfeJS,
tain proofs of a plate engraved in line, the lateral faces are rect- |l|j ψfflfflf
plate is slightly warmed and thoroughly angles. In optical Jll. V f | | | f f l A
inked with a dabber. The surface of the experiments a prism |'Λ .'^ΜαΙβΗτ
plate is then wiped so that the ink only of glass or crystal is ^ ^ ^ O - H r
remains in the hollows. T h e plate thus used, which refracts a ^<<r
prepared is placed in a press between beam of white light falling upon it and
two cylinders, a sheet of damp paper and decomposes it into the seven colours
a thick flannel being laid upon it. In which form the spectrum.
passing between the two cylinders under Prismatic. T h a t which has the form
considerable pressure the paper takes of a prism.
up all the ink, and thus a proof of the Private View. It is customary for
engraving is obtained. the directors of exhibitions to ask the
— of Mezzotints. T h e printing of exhibitors and their friends to a private
mezzotints presents considerable diffi- view of the pictures, before the public are
culties. As the portions of the plate admitted. Of late years invitations have
which print white are more hollow than been sent out so indiscriminately that the
those which print black, before printing day on which it is impossible to look at
the hollows must be wiped perfectly dry works of art is that on which the private
by hand or with a small dabber covered view is held. Private views have, indeed,
with linen and fixed on a little stick. degenerated into crushes, in which
Mezzotint plates only yield a small women are stared at and costumes chat
number of proofs, and are easily worn tered about.
out. Proboscis. (Her.) T h e trunk of an ele
— of Woodcuts. Proofs are printed phant generally represented /-w^
from woodcuts, from clichés of woodcuts, as twisted in the shape of an ^ - O j
or from any relief engravings obtained S and placed in pale. This <η&
by mechanical processes, in the ordinary heraldic charge is very rarely f jLfa
method employed in printing books. T h e met with, and only in German ^fe^Iyf
blocks are carefully adjusted, placed on coats of arms. ·*-
the marble, and inked with a roller. In Process. A mechanical method by
order to produce strong differences of which something is produced or exe
tone, small pieces of paper cut out are cuted. T h e innumerable methods of
put in the places where decided blacks producing plates, from which impres
are wanted. T h e object of these pieces sions may be struck, by the use of pho
of paper is to increase the pressure, tography, are termed processes. The
while the delicate parts, being only cheap reproductions of pictures which
covered by a single sheet of paper, only illustrate so many modern books and
yield light grey tones. journals are often produced by mechani
Priory. (Arch.) A monastery which is cal processes, and are called process
presided over by a prior. blocks.
Prism. A solid geometrical figure, the P r o c h o u s . (Pot.) A Greek vase
bases of which are equal and parallel somewhat resembling the oenochoe
and the sides formed of parallelograms. (q.v.) in shape. It had a very grace
A prism is said to be triangular, hexa- ful handle rising considerably above
321
PRO ART DICTIONARY. PRO
the neck, while the lip if looked at from tion was made up of a very large number
above formed a tre-
foil. These charac-
teristics will at once
be recognised in our
cut. T h e prochous
was used to hold
wine, and was fre-
quently enriched with
paintings. of mouldings. Finally when mouldings
Profile. A term are executed in plaster, the term counter-
which in general
denotes the repre-
sentation of an ob-
ject seen from one
of its sides. In draw-
ing and painting a
profile is a portrait
of a person looked
at sideways. In ar- profile is applied to the pattern cut out
chitecture a profile is
so as to show the profile.
a section so made Profile, Back. A term applied to a
as to show clearly portrait representing a person seen
the projections of a sideways, so that the back of the head
moulding or system of ornament, the is in the foreground, and the features
drawing of which in face does not enable are partially hidden by the projection of
us to appreciate its relief. The design ofthe forehead and cheek.
profiles in buildings of the Gothic style Progression. A system of ornament
was always subor- in which the details assume greater
dinated to the lineimportance according to the extent of
of the masonry and the surface to be covered. In the decora-
the mouldings were tion of a pediment, for instance, the
always combined,
ornament should be conceived in pro-
so that the joints gression, since a larger surface has to be
were hidden and filled in the middle than at the extrem-
did not break the ities, which terminate in a point.
convex or concave Projection. T h e representations of
surface of these
bodies upon a plane surface, vertical or
mouldings. T h e section of Gothic piers horizontal; also the figure obtained by
display profiles of extraordinarily learned
joining the foot of perpendiculars drawn
design. In the 13th century the piers from every point of an object on to
the plane. T h e
322
PRO ART DICTIONARY. PRO
must be familiarised with this branch of engravings, are obtained in wax or
of drawing, for it enables him to plaster.
judge of the Proof, Artist's. A proof of a line
effect of the engraving pulled with or without the
details of a signature of the artist. Sometimes
building, and artists' proofs are further distinguished
also to indicate either by an irregular margin, the en-
the outline of graving not being exactly in the centre
the shadows of the plate, or by square lines sur-
projected by rounding the subject, but drawn some-
an imaginary focus of light convention- what irregularly, or by sketches or tenta-
ally placed above and in the left hand tive strokes in the margin.
of the drawings, and directing its rays — before Letter. A proof of a line
at an angle of 45 degrees. Anything engraving or lithograph before its title
which stands out from the line of a together with the names of the painter
wall or other flat surface is said to be and engraver have been cut or written
a projection. T h e body of mouldings, in lithographic ink in the place reserved
entablatures, and balconies, for in- for that purpose.
stance, project from a —, Lettered. A proof of an engraving
façade. In a washed which bears engraved upon its margin
drawing showing the either in printer's type or in regular
elevation of a building, handwriting the title of the engraving,
lit by an imaginary ray together with names of designer, en-
of light directed at an graver, and printer of the plate.
angle of 45 degrees, the —, Natural. A proof which repro-
dimension of the shadow duces the actual lines of an engraving
cast by a moulding is without any " d o d g e s " or retroussage.
determined by the pro- Such a proof is obtained by carefully
jection of this moulding. wiping the whole surface of a plate after
In painting, the relief having inked the furrows.
given to the objects re- —, Negative. (Photo.) A cliché
presented is called the projection. Of obtained by exposing sensitive plates in
a badly modelled figure, for instance, i t a dark room. In a negative the lights
may be said that it lacks projection. and darks of the object reproduced are
Pronaos. (Arch.) A term applied in transposed.
ancient temples to the porticoes or —, Positive. (Photo.) A proof ob-
porches placed in front of the cella. tained from a cliché, either upon paper
Proof. (Engrav.) A tentative impres- or upon glass, in which the whites and
sion taken from an engraved plate or a blacks correspond to the lights and
lithographic stone, which enables the shades of the original. .
artist to judge how far his work is com- —, Remarque. A proof of a line en-
plete and what retouches are necessary. graving which represents a particular
It must be observed, in passing, that state of the plate. The remarque proof is
after a lithographic stone has been pre- distinguished by a sketch drawn by the
pared for printing, any alteration in it engraver on the margin or on the white
is a matter of extreme difficulty. T h e portion of the proof, or by the absence
term proof is also applied to an engrav- of certain lines in various parts of the
ing printed from a plate, block, or stone. plate. Thus the proof of a plate bitten
T h e proofs of engravers of medals, by aqua fortis, before it has been re-
which serve the same purpose as proofs touched with the dry point or rebitten,
323
PRO ART DICTIONARY. PSEU
is a remarque proof. These remarque particularly the building which was
proofs give us the various states of a placed at the entrance of the Acropolis
plate from first to last. at Athens and foimed a magnificent
Proof, Wax. A tentative proof obtained approach to the Parthenon.
by the engraver to give him an indica- Proscenium. (Arch.) In modern
tion of what retouching is necessary. theatres the proscenium is that portion
It is obtained by filling in the lines with of the stage which extends in front of
lampblack, and applying to it a sheet of
paper coated with white waxand exert-
ing upon it a gentle pressure with a
burnisher.
— w i t h Grey Letter. A term applied
the curtain as far as the footlights. In an
ancient theatre it was that part which
was situated in front of the scene.
Prostyle. (Arch.) An ancient temple
to proofs in which the characters of the was said to be prostyle when its front
legend are grilled with hatchings. alone, was adorned with a row of
— with White Letter. A proof in columns.
which the characters of the legend or Prothesis. [Oblatorium.]
inscription are only indicated by out- Protractor. A semicircle of horn or
lines. metal, divided into 180 degrees, which is
Proper. (Her.) When charges on a used to measure
shield are represented in their own angles or to draw
natural colours they are usually them upon paper.
blazoned proper. The commonest
Properties. In the language of the form of protractor
theatre this term denotes all objects is a pierced demi-
accessory to the mise en scène. disk, as shown in our cut.
Proportion. A term applied to the Prow. T h e prow of an ancient galley,
dimensions of a painted or sculptured pointed with iron
figure, and also to the relation which or steel, is fre-
exists between the dimensions of the quently em-
various parts of the body. In painting ployed as a sys-
and sculpture the proportion of the tem of ornament.
human body is indicated by the head, The prow has
a well-proportioned human body being sometimes only
equal to seven or eight times the height one metal point,
of the head. In architecture the pro- sometimes seve-
portion of the entablature is furnished ral. [Rostrum.]
by the radius of the shaft of the column Prussian Blue. [Blue, Prussian.]
at its base. Prussian Brown. (Paint.) A useful
Proportioned. A figure is said to be and permanent brown pigment, obtained
well-proportioned when its proportions by calcining Prussian blue. It is a good
are accurately observed and when the transparent colour, dries quickly, and
dimensions of its various parts are is suited generally to oil and water
properly harmonised, colour.
Propylaea. (Arch.) This term denotes Pseudisodomos. (Arch.) A kind of
in ancient architecture the vestibule of masonry employed by ancient archi-
a temple decorated with columns, and tects in which two courses of small and
324
PSEU ART DICTIONARY. PUN
large stones alternated with regularity. period they were surmounted by sound
Masonry which consisted of stones all of ing boards in the form of a canopy or
the same height was called by the tapering pyramid. In the 16th, 17th, and
Greeks Ισόδομος. [Masonry, Greek.] 18th centuries pulpits were designed in
PseudOdipteral. (Arch.) A temple is accordance with the architectural style
said to be pseudo-dipteral when it is of each epoch and some were marvels of
apparently built upon the dipteral (q.v.) allegorical and theatrical fancy. Belgian
plan, but is in reality only surrounded pulpits particularly exhibit a quaintness
by one free row of columns, another row of execution and design. T h e pulpits
of columns being attached to the walls of the present day are generally nothing
of the cella. but an ingenious pastiche on the produc
Psyche. T h e story of Psyche, who tions of former times. Our cut repre
was beloved of Eros or Cupid, has always sents the pulpit of carved wood in the
been a favourite one with artists. Eros church at Wenden, in Essex.
and Psyche are generally represented Punch. (Engrav.) A steel instrument
together, and Psyche frequently has the called a punch, which gene
wings of a butterfly.
Pteroma. (Arch.) In classical archi
tecture pteroma signifies the portico
which surrounds the cella of a temple.
rally has two large blunt points,
is used in crayon engraving to
add masses of black when the
work has already been bitten.
ff
Pulpit. A tribune with a seat, raised T h e punch is held perpendicu
at a considerable height above the lar to the plate and subjected
ground, from which sermons were to a series of sharp taps, being
delivered. In Italian churches many moved a little at each tap.
pulpits are to be seen of marble or A hollow of considerable width
bronze, supported by colonnettes. In
mediaeval churches the pulpits were
nearly always of wood and perfectly
and depth is thus obtained,
which is represented in print
ing by a mass of intense black, Many
i
simple in construction. In the 15th plates were executed by this method in
the last century and
were printed in red. In
die-engraving a punch
is a steel instrument
upon which a figure
is engraved, and from
which imprints may be
obtained by striking the
punch at the end the
farthest removed from
the figure. Engravers often keep a collec
tion of punches, upon which the
commonest charges in heraldry
are engraved. T h e term punch
is also applied to the imprint of
an initial, device, sign, or sym
bol placed upon goldsmith's
work, or on gold and silver or
century pulpits were set against the naments. In the present day
pillars of the church or against the the application of these sym
wall, and were fixed. At a little later bols to gold and silver plate is under the
325
PUN ART DICTIONARY. PYR
326
QUA ART DICTIONARY. QUA
327
QUA ART DICTIONARY. RAD
as centres. Sometimes the four arcs of couples, and are connected at their upper
circles are tan end by a beam called a collar beam.
gents or secants. Quincunx. An arrangement in squares
At some periods like a chess-board. T h e most frequent
their extremities instance of the quincunx is a plantation
are separated by- of trees, so laid out as to present straight
angles, as in lines, from what- _
our second and ever point of 1 ;^C ΐ * ' ^ " " 1 ' ~ * ~
smaller cut. In view it is looked *&.'..; λ$(...;..Λ* - \-
the 12th century at. T o obtain . . j . ^ ^ . * ' . ;..s.tf.' . L a
the inner sur this result the „ ·' / : X J , ' ' \ s^ : ' ' ;S
face of the curve is decorated by a torus. ground is di- ^ \ Y , ; \ [ '*v\ \,
In the 14th century each vided into a cer- '•• ν^·'*'Γ'•&·"" • ''·τ-"
foil, instead of consisting tain number of &>'. 4 • • ^ • • ^ • • X - - i -
of a portion of a circle, equal squares
consists of a portion of a and the centre of the square is ascer
pointed arc. tained by drawing diagonals. Trees
Quattro-cento. (Paint.) are then planted at the four corners
A n a m e applied to the style of the and at the centre of each square.
painters who practised their art in Italy Quirk. (Arch.) A channel or groove
during the 15th century. T h e quattro separating a convex moulding from the
centisti may be said to include all the fillet which surmounts it.
artists who are more generally known Quoif. [Coif.]
as Pre-Raphaelites. Quoin. (Arch.) T h e external corner of
Quattro-Coronati. According to the a building. It is generally decorated,
legend of the Church the " four crowned sometimes with pilasters, sometimes
brothers " were architects, who refused to with a belting-course [Course, belting] of
build a pagan temple in the reign of Dio projecting stones, which gives a decora
cletian. For this refusal they suffered tive character to the building, if the rest
martyrdom. In art they are represented of it is of brick.
crowned and with palms in their hands,
while mallets and other tools lie at their
feet. There is a church in their honour
at Rome.
R.
Quartz. A siliceous stone, the com Radegund, St. St. Radegund was the
monest of the minerals ; it is generally wife of Clothaire, King of France, and
transparent and crystalline. It is found lived towards the end of the 6th century.
in nearly every part of the world. She became a Christian, and, in conse
T h e most beautiful varieties of quartz quence, was obliged to retire from the
are used for cameos, intaglios, while court. She was early canonized as a
the commoner kinds are employed saint, and in artistic representations she
in the manufacture of glass and porce appears wearing a crown or with a crown
lain. at her feet. Sometimes wolves are at
Queen-post. (Arch.) A post which her side and the legend tells us that
springs from a tie-beam and helps to she had power over wild beasts.
support a timber roof It is not placed Radiated. A term applied to decora
like the king-post in the centre of the tive motives, which consist of rays.
tie-beam, but between the centre of the Radiation. A method of decorating
tie-beam and its extremity, and, there a circular surface by means of radii
fore, queen-posts are always found in diverging from its centre. T h e term is
328
RAD ART DICTIONARY. RAM
also applied to a system of ornament, the roof and support the purlins (q.v.)
which consists in the arrangement upon on which the rafters are laid.
a surface of any form whatsoever of radii R a g g e d . (Paint.) A painting is said
of a circle. to be ragged in style when the objects or
Radient. (Her.) In figures represented, instead of being
heraldry a charge is evenly joined to the background, ter-
said to be radient minate in rough edges.
which has rays round Ragstone. (Arch.) Stones of small
it. Our cut, for in- size, sometimes squared, sometimes just
stance, - is described as they came from the quarry, used in
as azure, a pale, or, building.
radient. Raguly. (Her.) A charge is said to be
Radius. A constant distance between raguly, when it i __
the centre and any point on the circum- ragged or rough like
ference of a circle or on the surface of a the trunk of a tree,
sphere is termed a radius. Our cut, which re-
Raffaelle-ware. (Pot.) A kind of ma- presents a cross ra-
jolica, upon which mythological and guly will render the
other scenes were painted. It was made term quite plain.
at Urbino in the 16th century under the Rail. (Arch.) T h e upper part of a ba-
patronage of the Dukes of Urbino. lustrade about breast high, upon which
There is no reason to believe that the hand may be rested. In domestic
Raphael ever designed any specimens staircases the rail is generally of wood,
of this ware, though it is quite possible but in stone balustrades it is frequently
that some of his school furnished the of marble. T h e term rail is also ap-
Urbino potters with design. Perhaps plied to the horizontal pieces of wood
the fact that Raphael was born at Urbino separating the panels in doors or wains-
is sufficient to account for the name coting.
which this pottery received. Rais de Cœur. (Arch.) A system of
Rafter. (Arch.) A piece of timber, ornament in the form
supporting the laths or battens, upon of a heart. It consists
of fleurons and water-
leaves placed alter-
nately, and decorates J|i||I^Si(||i|^
the surface of some
mouldings which have a convex profile.
which a roof of tiles, slates, or zinc rests. Rampant. (Her.) An animal rearing
—, Principal. up on its hind legs in a fighting attitude
(Arch.) A piece of wood is said to be rampant. [Lion Rampant.]
or iron, which plays an Rampart. (Arch.) A fortified wall
important part in the frame of a roof. which forms a defensive enclosure for a
The principal rafters give the angle of I town or castle. In the Middle Ages
22 3*9
RAN ART DICTIONARY. RAY
330
REA ART DIC TIONARY. REB
33*
REC ART DICTIONARY. RED
Thomas Compton, Abbot of Cirencester. Red Lead. (Paint.) This pigment is
It is taken from a window in the Lady an oxide of lead. As, when mixed with
Chapel in Gloucester Cathedral and its most other pigments, it decomposes it is
of little use to the artist. It is of a
scarlet colour, and when it is pure and
unmixed it is not affected by light.
— Ochre. (Paint.) There are several
kinds of red ochre, such as Indian red,
scarlet ochre, and Indian ochre. This
pigment is generally a sulphate of iron.
In colour it is less strident than vermi
lion, and when pure it is permanent.
— Orpiment. (Paint.) This pigment,
which is a compound of arsenic and sul
phur and is of an orange colour, should
never be employed by the painter, as it
destroys other pigments and absorbs the
significance will b e plain to all. Our colour of the ground. It is also known
second cut is the coat of arms of a as realgar.
Devonshire family named Arches. Redan. (Arch.) A pierced or indented
Re-canvassing. An operation which system of ornament used in Gothic
consists in replacing a worn-out canvas
or worm-eaten panel upon which paint
ings have been executed by new and
sound materials.
Rectangle. A rectangle is a figure
enclosed by four straight
lines, in which the oppo-
site sides are equal and all
the angles right angles.
Rectangled. A term applied to geo
metrical figures which contain a right
angle. Thus we speak of a rectangled
triangle, a rectangled parallelogram.
Rectangular. A figure or solid body
in which the angles are right angles is
termed rectangular.
Recuse (Numis.) A term applied to upper surface of which, instead of being
coins struck with two different types, the horizontal, is cut off so as to resemble
one superposed upon the other. the steps of a staircase.
Red. Red pigments are formed of Redorte. (Her.) This n a m e is applied
ochre or clay coloured by oxides of iron,
which have been calcined and pulverised.
These pigments, when they have a base Λ
of iron, are always deep in colour.
Reds obtained from oxide of lead or from
mercury are bright and intense Among
the latter may be mentioned red lead
(protoxide of lead), cinnabar, and ver by heralds to a figure formed by inter
milion. twining the branches of a tree, with or
332
RED ART DR rIONARY, REL
without their leaves on, so as to make a In mediaeval pictures saints are fre-
succession of loops. quently represented as playing upon
Reduct. (Arch.) A term applied in
military architecture to fortified works,
the purpose of which is to prolong the
defence of a castle.
Reduction. A term applied in art to a
copy of a sketch or picture on a smaller
scale than the original ; and also to en-
graved reproductions obtained by me-
chanical processes, and designed on a
smaller scale than the drawings from
which they are made. It also denotes
small copies of a statue ; we speak of a
reduction, for instance, of the Venus of
Milo. There is a special method of re-
ducing statues, which is based upon the
application of the pantograph, or by
which mathematically exact copies may
be obtained. This method goes by the régals. T h e cut given here is from a
name of Collas, its inventor. picture by Memling.
Re-enter. (Engrav ) When a line on Regardant. (Her.) A term applied in
an engraved plate, which has been heraldry to animals which have their
worn in printing or is not bitten head turned towards the sinister side of
deeply enough, is cut with a graver to the shield.
its proper depth, it is said to be re- Reglet. (Arch.) A small flat moulding,
entered. which is also known by t
Refectory. (Arch.) T h e dining-room the names of fillet and Γ ν
1
in a monastery or convent. listel. When it is very * ' ^ ^ w w · "
Reflection. A term applied to the por- large it becomes a plat
tions of a body illuminated not by rays band, and some writers then describe
of direct light but by reflected rays. In it as a taenia.
an illuminated body there are three R e g r a t i n g . (Arch.) An operation
distinct parts, the light, the shade, and which consists in cutting away the orna
the reflection. T h e last is the part of ments and projecting mouldings from
an object plunged in a penumbra the surface of a building, so as to render
lighted by the rays proceeding from the whole surface uniform. By this
other bodies at some distance from process of levelling many ancient build
the object and receiving the light ings have been destroyed or restored, as
directly. the modern iconoclast prefers to style it.
Refraction. A change of direction R e g u l a r . (Arch.) A plan or façade is
taken by luminous rays in certain trans- said to be regular when it is arranged
parent bodies. It is in consequence of symmetrically.
this phenomenon that a rod half plunged Relief. In painting the relief is the
in water appears broken, that the disc apparent projection of objects obtained
of the sun on the horizon appears larger by modelling or a gradation of tints.
than at its zenith. Thus the reliefs of a picture may be
R é g a l s . A music instrument used in well rendered, or a portrait may be said
the Middle Ages, which combined the to lack relief. In sculpture a relief is a
characteristics of an organ and accordion. figure or series of figures executed on
333
REL ART DICTIONARY. REP
a flat ground, from which it projects mouldings, and many were resplendent
in a greater or less degree, according as with precious stones.
it is a high or low relief. In architec- Remark. [Proof, Remark.]
ture the mouldings and systems of orna- Rembrandtesque. (Paint.) In the
ment which project from the surface of manner of Rembrandt. A painting is
a wall or of a façade are termed re- said to be Rembrandtesque when the
liefs. combination of effects, especially of
Relieving Arch. [Arch, Relieving.] light and shade, recall those adopted by
Reliquary. A coffer or box, of very Rembrandt. Thus the effect of light in
variable form, in which relics are kept. a picture may be said to be Rembrandt-
In the Middle esque or the picture itself may be so
Ages there were termed.
reliquaries large Renaissance. T h e period during
enough to be reve- which there was a general revival of art
renced as shrines, throughout Europe. This movement
while some were began in Italy in the 15th century, and
small enough to continued with little abatement of vigour
be carried in the throughout the 16th. It reached England
hand. Sometimes and Germany somewhat late. The
they assumed the architecture of the Renaissance was
form of an arm characterised by a return to the an-
or a skull, accord- cient orders, which were interpreted,
ing as the relic however, with a certain amount of
within was a bone of the arm or a frag- freedom.
ment of the skull. As a general rule they Render. T o render is to represent,
express, or interpret by the means
proper to any particular art.
Rendering. A term denoting the
manner in which a work of art or figure
is painted, drawn, or executed. Thus
we speak of an inadequate rendering, or
say that the rendering of a certain sub-
ject is admirable.
Repaint. Those portions of a picture
were very richly decorated, especially upon which fresh colour has been laid
those made from the 13th to the 15th after the completion of the picture are
century, some of which were formed of said to be repainted. Of all the pro-
blocks of rock crystal supported upon cesses of restoration repainting is the
most dangerous, and the most hopelessly
prejudicial to the value of a picture.
Reparata, St. St. Reparata was from
the 7th to the 13th century the patron
saint of Florence and representations of
her are to be found in early Florentine
pictures. T h e tradition was that she
suffered martyrdom in Cesarea at the
i&fflffismfëSSJ age of twelve.
Repetition. A method of ornament,
pierced columns. Others were vases which consists in decorating a surface
of jasper or porphyry with enamelled by representing the same motive a large
334
REP ART DICTIONARY. RES
335
RES ART DIC IONARY. RET
336
RET ART DIC: UONARY. RHY
touching is absolutely impossible in ations upon it, as necessitate a re-
wood-cutting, where the surface of the biting.
ι )lock is cut away and a fresh surface, fit Reveal. (Arch.) A term applied to the
to engrave upon, can only be obtained interior surface formed by the opening
by fitting fresh pieces of wood to the
original block.
Retrait. (Her.) This is a French
KHi]|im|w 1 term used to describe a
1^1 i l k S charge which is discon-
I Λκ 1 n e c i : e d in the middle so
I ^tlilK I ^ a t o n e P a r t *s * n r e ~
I >fj jyM treat as compared with
^sjr*^ the other.
Retreat. (Arch.) A term applied in
the Middle Agee to small vaulted rooms
or private chambers lighted by arcades. of a bay. Reveals may be either rect
R e t r e a t , In. (Arch.) That part of a angular or oblique.
building which lies behind the line of Reverse. (Numis.) T h e side of a coin
or medal opposite to the face or obverse.
Reversed. In the process of engraving
pictures are sometimes reversed, that is
to say, they are reproduced in the oppo
the principal façade is said to be in site way to the original. A head, for
retreat. Niches, pavilions, for instance, instance, which looked towards the
may be in retreat. right, looks towards the left when re
R e t u r n . (Arch.) A term applied to a versed
îl H tel corner, the angle of a Revolution. A term applied in geo
Γ|||Ι^^^ building, the angle of metry to the rotatory movement by
|1 ' p B S S B l i an entablature, a cor- means of which a solid may be deduced
1 "· ' j , nice or a projecting from a plane figure.
moulding. A mould Rez-de-Chaussée. [Ground-floor.]
ing itself, too, may be said to return. R h y p a r o g r a p h y . A term applied in
T h e term may also denote a building, ancient times to that branch of art
which was concerned with the repre-
sentation of common every-day subjects.
T h e name rhyparographus was given
by Pliny to a painter named Pirseicus,
whose " subjects were barbers' shops,
cobblers' stalls, jackasses, eatables, and
which forms a right angle with another the like." Pliny adds that, in spite of
building. the meanness of their subjects, these
Revarnishing". (Engrav.) There are pictures were very pleasing and sold at
two methods of revarnishing an etched higher prices than the works of many
plate. T h e one is by heating the plate masters. From the above extract from
and using a dabber, the other is by laying the Roman critic it will be seen at once
on a mixture of varnish and smoke-black that rhyparography includes both genre
with a hair brush. T h e object of both and still life, and that Piragicus, as far as
these methods is to allow the engraver to subject is concerned, differed little from
retouch the plate, which has already the Dutch school.
been bitten and to make such alter- Rhyton. An ancient vase in the shape
337
RIB ART DIC. 70NARY. RID
338
RIF ART DICTIONARY. RIS
junction of the two slopes of a roof. It In the Romanesque style examples of
this form of decoration are also found,
but it is in Roman architecture, espe
339
RIV ART DICTIONARY. ROM
mantic school have attempted to repro- the lights with a cutting tool, just as
duce the tones rissolés of Rembrandt, he would were he working with bread
but have too often merely succeeded in crumbs on paper covered with black chalk.
getting red, heavy tones. R o c k w o r k . A decoration in the rustic
Rivet. (Constr.) A nail with a round style generally made up of masses of
II head, the extremity of which natural or artificial rock. It is used
il has been flattened so as to principally to ornament fountains and to
«Kp form a second head. Iron form grottoes.
| | plates are often joined with Rococo. A decorative style which was
i| rivets, made red hot and an exaggerated development of the ro-
β 8 Β | ρ ρ & hammered. In small works caille style (q.v ). It was characterised
Hi riveting is done without by a profusion of meaningless ornament,
^ heating the rivets. consisting of scrolls, foliage, and animal
Rocaille. A term applied to the art in forms hopelessly confused and inter-
vogue at the time of Louis XV. Scrolls mingled. As a general term rococo de-
and foliage, which are a feature of this notes anything that is heavy, ugly, and
style, are characteristic, both in form tasteless.
and outline. Roller. (Engrav.) A wooden cylinder
Roche, St. St. Roche is the patron furnished with handles and covered with
saint of those afflicted with plague or leather, upon which a peculiar varnish
disease. H e was born at Montpellier at is smeared. When the roller is skilfully
the end of the 13th century, and devoted passed over a plate, which has already
his life to ministering to the sick and been bitten, the varnish does not touch
plague-stricken, and he is said to have the furrows, but only covers the plane
died in prison in his native town in 1327. surface, so that the plate may be rebitten.
His worship began in the 15th century, Roll-moulding. (Arch.) A term ap-
and he has been particularly reverenced plied to many mouldings, varying a good
at Venice. H e is generally represented deal from one another, but all present-
in the guise of a pilgrim, with staff and ing some resemblance to a roll.
shell, and he shows the plague spot on his R o m a i n , St. St. Romain was bishop
left thigh. Representations of him are of Rouen in the 7th century. T h e ex-
frequently met with in art galleries, es ploit for which he is famous was the
pecially in the pictures of Italian masters. destruction of a noisome dragon, which
R o c k e r . (Engrav.) A tool used by the in representations of him is generally
engraver in mezzotint. It is a kind of shown at his feet.
chisel with a sharp bevelled edge, which R o m a n e s q u e . (Arch.) T h e Roman-
grsm is set on the surface of the esque style of architecture grew up in
I B copper and rocked too northern Italy and is the link between
r9 and fro so as to obtain Classical and Gothic architecture. It is
«il a series of points forming called by some writers round-headed
I SI a rough grain. This grain Gothic. Its distinguishing characteris-
» ni retains the ink and enables tics are an extraordinary severity and
pi the engraver to get a proof simplicity of style. Its arches are gene-
Sf! 3 ^ of a velvety black, which, rally semicircular, and its vaults barrel
y ^ ^ ^ . if the rocker has been vaults. Its walls are thick and massive ;
L· ί|||§|& handled evenly, is of an in it the classical ideas of proportion
ec
ÉST" ; B 3 | iual tint. After this ope- with regard to columns, & c , are re-
{|jraj|mKJlmp ration, which, after all, is nounced; and the classical mouldings
only mechanical and may and ornaments, though they still occur,
be simplified, the engraver cuts away are much modified.
340
ROM ART DICTIONARY. ROO
which in Catholic churches is placed it rise chimneys, which afford the archi-
34'
ROO ART DICTIONARY. ROS
342
ROS ART DICTIONARY. ROY
343
RUB ART DICTIONARY. RUS
344
RUS ART DICTIONARY. SAG
23 345
SAL ART DIC "IONARY. SAP
flowers of the blue iris. It is useful and which was of a dark tint, such as black
permanent in water-colour. or purple, or was made up of strata of
Sapphire. A brilliant and transparent white and red. T h e last-named variety
precious stone of a rich blue colour. was highly prized by ancient gem-
Saracenic. (Arch.) A term applied to engravers, as it could be so cut that its
the Moorish style of architecture, such strata produced the effect of a white
as was employed at the Alhambra Palace cameo on a red ground.
at Granada. Richness of colour and Sash frame. (Arch.) A window frame
elaboration of design are its distinguish which opens or shuts by r
ing characteristics. All animal forms being moved up or down I II .11
are excluded from its decorative scheme, in vertical grooves. Win- g M
and flowers and plants are treated in an dows in English houses 1 > h
emphatically conventional manner. have long been constructed | j l | } | I lill
Sarcophagus. (Arch.) A tomb, in upon this principle. J"ί|2§Γ^0
which in ancient times bodies were Satiny. T h a t which has ( Π ^ ]
placed without being burnt. Sarcophagi the brilliance or lustre of III]
were made of a special stone which was satin. Thus we may say 1 UÀ*.
believed to have the curious property of of a proof of a woodcut, Sï^^>J
that it is of a satiny tex- ^ % ^ '
ture, or of a picture that
the rendering of its flesh tints is satiny.
Satiric. A term applied to the
draughtsmen of caricatures and humor-
ous sketches. T h e artists on the staff
of Punch, for instance, would doubtless
eating away flesh. This stone was a describe themselves as satiric.
kind of pumice stone, found in Troas, Satsuma. (Pot.) A fine stoneware
and it was said to complete the destruc produced in Japan in factories belonging
tion of a whole body, except the teeth, to the princes of Satsuma. It was
in the brief space of forty days. Ancient decorated with flowers, arabesques, & c ,
sarcophagi are often decorated with worked in gold as well as in enamels.
reliefs, and may be ranked among the T h e older the pieces of Satsuma ware
are, the more refined and simple is their
style of ornament.
Saturnus. A deity worshipped at
Rome. H e was believed at a very remote
period to have reigned over the city, and
the age of Saturn (like the age of Cronos
in Greece, to which deity Saturn pre-
sents some resemblance) was remem-
bered as a golden age. Saturn is said
to have instructed his people in agricul-
most interesting relics of ancient art. ture and gardening, and he is represented
In the Middle Ages, the term sarco holding a sickle in his hand. A festival
phagus was applied to tombs in the was held in his honour at Rome in
form of altars, decorated with flutings December, and the Saturnalia always
and sometimes surmounted with statues, afforded an opportunity for merriment
either lying or kneeling. and riot.
S a r d . An agate of a reddish colour. Satyr. A mythological figure. A
Sardonyx A hard siliceous stone, demi-god of the Greeks and Romans,
347
SAU ART DICTIONARY. SCA
whose characteristics were a brutal, century, and merged in 1728 in the
sensual face, the feet of a goat and a Gobelins manufactory.
hairy body. His head was covered Saxon a r c h i t e c t u r e . [Anglo-Saxon
with unkempt hair, from underneath architecture.]
which horns sprouted. Statues and Saxony. (1) (Pot.) Dresden or Meissen
masks of satyrs were frequently used as china is frequently described as Saxony.
a decoration. [Dresden.]
Saucer. (Paint.) Small vessels of zinc, Saxony. (2) (Her.) T h e arms of Saxony,
fixed to a plate of metal folded over so borne on a shield of pretence by the
Prince of Wales in virtue of his title oi
Duke of Saxony, are Barry of ten, or and
sable, a coronet extended in bend, vert.
This coronet extended in bend is by
French heralds called a cancerlin.
Scabbard. T h e sheath of a sword,
which was generally decorated with
much elaboration. Many artists have
as to fit on the edge of a palette, are provided the goldsmiths with designs for
used by painters in oil to hold either oil scabbards, and at the British Museum
or varnish. Painters in water-colour may be seen some exquisite designs for
used small concave scabbards by Holbein.
<^jMMijug^jSjjji _ disks of porcelain Scabellum. (Arch.) In the ancient
f ' "^nnntWjBJP"* of a s p h e r i c a l languages the term
shape. They also scabellum denoted
use rectangular saucers, which are set a kind of square
side by side upon porcelain. In these footstool, with a
colours can pedestal of a con-
be mixed, siderable size, and
ind several about the height
colours used of a step, as well
at the same as a movable foot-
time. Some saucers, hollowed out stool which was
of a block of crystal, intended par- placed under the
ticularly for Indian ink, may be co- feet of statues, re-
presenting a god
s e a t e d on h i s
throne. In modern
architecture the
term is applied to square pedestals with
or without a capital, of
no great height, the
vered with a piece of glass, so as to purpose of which is
preserve the tints from dust or evapor- to support a bust. In
ation. this case it is placed
Saunders Blue. (Paint.) A corruption over a grave or behind
of cendres bleues ; the name is sometimes a sarcophagus, or
given to ultramarine (q.v.). simply set up as a
Savonnerie. A term applied to the kind of commemo-
carpets made at the royal factory which rative monument.
was established in Paris in the 17th Scaffold. (Arch.) When a building is
348
SCA ART DIC: 10NARY. SCA
349
SCA ART DICTIONARY. sen
Scarp. (Arch.) T h e exterior surface machinery and heavy sets rather than
of a wall inclined in talus (q.v.). In forti- upon painted scenes. His experiment
fication the scarp is the back of the fosse does not seem to have met with encour-
agement, and no more trials were
made in this direction until the time of
Betterton. Even then heavy sets were
for some time popular, but better taste
intervened at last, and during Garrick's
management de Loutherbourg did much
to advance the scenic art. Among the
artists who have also been scene-painters
we may mention Nasymth, David
placed at the side of the rampart facing Roberts, and Stanfield, while the name
' he besieging party. of Beverley is indissolubly connected
Scarpe. (Her.) A with the theatre. In the present age the
scarpe in heraldry is legitimate art of scene-painting is less
a diminutive of the encouraged than that (if art it may be
bend sinister (q.v.). called) of stage-carpentry, and the
T h e shield in our cut machinist is a more dignified person than
may be blazoned, the artist.
Argent, a scarpe, Scheele's Green. (Paint.) Scheele's
gules. green is a compound of copper and
Scarpellino. An Italian word denoting arsenic. It is a pigment of useful colour
a workman employed by a sculptor to and more permanent than other greens
carve his work in marble. T h e work of obtained from copper.
the scarpellino is checked by the use of School of Painting. In the most rigid
a pointing machine, but the scarpellino, application of the term,school of paint-
who puts the finishing touches to the ing denotes the painters or pupils who
marble, must possess skill both of eye worked in the bottega or studio of one
and hand. master. Hence it was extended to in-
Scauper. (Engrav.) A tool used by clude the painters of a city or province,
who learnt their art from one master.
A picture is said to belong to the school
of a master when it is executed in the
style of that master. W e may also
woodcutters to cut away the spaces be- speak of the English school, the French
tween the lines of a block. school, meaning thereby the painters of
In line engraving an instru- England or France, of every date and
ment of the same name is every style.
used to draw broad strong —, Bolognese. T h e Bolognese School
lines. flourished in the 16th and 17th centuries.
Scene-painting. Scene-painting was It was characterised by learning and a
hardly practised at all in England until sense of decorative effect, but was
after the Restoration. As everyone knows marred by academical precision. Its
in Shakespeare's time the scenic arrange- chief masters were the Caracci, Guido,
ments were of the simplest kind, and the Albano, Domenichino and Guercino.
drama seems to have flourished very well Of the earlier Bolognese School of the
without elaborate mounting. T h e first 15th century Francia was the best repre-
attempt at stage adornment was made by sentative.
Inigo Jones, who, however, relied upon —, Brescian. The greatest artists of
350
sen ART DICTIONARY. SCH
the Brescian School (16th century) are I about in English art by the efforts of the
Moretto and Moroni, both distinguished Pre-Raphaelites (q.v.), of whom the most
painters of portraits. Moroni's master- I striking representative is perhaps D. G.
piece, Il Taglioni, is to be seen in the Rossetti. T h e last ten or twenty years
National Gallery. have been distinguished by a great out-
School of Painting, Dutch. The burst of artistic energy, a good deal of the
Dutch School is distinguished for the best work being produced under the
realism of its portraits and genre pic- direct influence of the French School.
tures, and for the excellence of its T h e English School in one branch, that
landscape. T h e greatest master of the of water-colour, has always claimed to
school in the 16th century was Lucas take precedence of all other schools.
van Leyden. In the 17th century flour- From the 18th century onwards the list
ished Rembrandt, the greatest master of of English water-colour draughtsmen is
light and shade the world had seen, a long one, including Girtin, de Wint,
Gerard Dow.de Hooghe, Terburg, Metzu, David Cox, Prout, William Hunt, Tur-
Van Ostade, Teniers, and Wouverman, ner, &c. But it should be remembered
all of whom were distinguished by the that their methods are not those of the
careful finish and accurate drawing of painter, and in spite of our oft-repeated
their works, Ruysdael, Cuyp, Van der boast, we have none who can handle
Velde, Hobbema, and Van der Meer, pain- water-colour with the skill and artistic
ters of landscape and sea-pieces, and Paul feeling of the modern French and Dutch
Potter, famous as a painter of animals. aquarellistes.
—, English. T h e English painters of School of Painting, Ferrarese. T h e
the 16th and 17th centuries were, with school of Ferrara, which flourished
the exception of Dobson, an excellent in the 15th and 16th centuries, was
portrait painter and pupil of Vandyck, closely connected with that of Bologna
chiefly miniaturists. Vandyck, Sir Peter (q.v.). Like the Bolognese, the Ferrarese
Lely and Kneller, all spent many years painters were for the most part academic
in England, but can hardly be said to and uninspired. Among the artists of
belong to the English school. In the 18th Ferrara the chief were Lorenzo Costa
century the English School first became and Dosso Dossi.
of real importance. Hogarth, the carica- —, Flemish. T h e peculiar glory of the
turist, is by some regarded as the father Flemish School is the richness of colour
of English painting. T o the same period affected by its masters. For three
belong Reynolds, Gainsborough, Romney, centuries this School held an un-
Richard Wilson, and Morland. In the rivalled position in European art. In
early part of the 19th century the land- the 15th century flourished the Van
scape painters of England were justly Eycks. T h e portrait of Arnolfini and
celebrated. Among them are Con- his wife by Jan van Eyck, which is now
stable, Crome, Cotman, Turner, Bon- in the National Gallery, is one of the
ington, De Wint, and Copley Fielding. finest pictures ever painted. T h e Van
In portraiture and genre the most dis- Eycks were followed by their pupils Van
tinguished painters of this period der Weyden and Memling. In the 16th
were the Scotchmen Raeburn and century the Flemish School fell under
Wilkie. T h e Englishmen Lawrence, the influence of Raphael and suffered
West, Barry, 'Northcote, Mulready, Mac- considerably from the " Italianisers."
lise, and the rest are as a rule feeble in Among the Flemish painters of this
drawing and colour, and too often trivial century may be mentioned Van Orley,
in sentiment. About the middle of the Mabuse, Pourbus, and Antonio Moro.
present century a revolution was brought 1 In the 17th century there was a distinct
35*
SCH ART DIC: IONARY. SCH
352
SCH ART DIC FIONA RY. SCI
353
SCI ART DICTIONARY. SCR
is to annoy and torment all those who curve. It is also known by the name of
hear it. For a scie to be successful it ' ' hollow round, ' ' while
must not only attain this end, but must s o m e t i m e s i t i s
even go beyond it. In some ateliers the termed a trochilus.
scie takes the form of a traditional It derives its name
practical joke, unpleasant and even dan from the strongly
gerous. Such, for instance, is the bucket m a r k e d shadow l
of water, suspended over the entrance of which it takes (σκότιος, !
the studio, which empties its contents dark.)
on the head of the novice or even the Scraper, (i) (Engrav.) There are several
master himself. But there are also tools used by engravers which differ
scies which are spontaneous and im slightly from one another, but are all
provised, full of allusion to passing known as scrapers. T h e mezzotint
events, in which that class of students, engraver uses · the scraper to
already described under the term rapin remove the grain from those
(q.v.), finds material upon which to portions of his plate which he
exercise its wit. desires to print white, his me
Seiography. A term applied by the thod of work being to leave the
ancients to the art of representing grain to obtain his shades and
objects, due regard being paid to their to scrape the plate to obtain
light and shade. It also denotes a his lights. H e works in the
geometrical drawing, showing the sec same way as a draughtsman in crayon,
tion and the interior of a building. who gets his light portions by rub
Sconce. An ornamental candlestick bing the surface with breadcrumbs.
fixed to the wall by means of a bracket. Another kind of scraper consists of a
Sconces have assumed various forms, quadrangular blade, the edges of which
and have afforded plenty of scope for are very carefully sharpened. It is used
to remove the roughnesses produced
upon transparent paper in making a
tracing and also to get rid of the burs
or ridges, which result
from the use of the dry
point upon a copper
plate. T h e latter is the
more important use of
this square scraper, and
its management by the
engraver is a matter of
considerable delicacy.
If it is not handled pro
perly there is a danger
of its scratching the
plate as well as re
the decorative artist. Many of them moving the bur. Then
have plates of brass behind them, which again by scraping away
are sometimes incised, sometimes em hatchings different effects
bossed, with admirable designs, and of modelling may be
serve as reflectors. obtained, and the strength of the tones
Scotia. (Arch.) A moulding of convex may be increased or diminished. Wood
outline, consisting of two portions of a engravers use a scraper to polish their
354
SCR ART DICTIONARY. SCR
wood-block before putting in the dis- rally consisting of a panel of stuff em-
tances and the luminous parts, as well broidered or decor-
as another kind of scraper, the ated with paintings,
angles of which are almost which is stretched
rounded. In water-colour draw- on a frame and
ing a scraper is used to put in serves to ward off
the lights and considerable the light and heat of
skill may be displayed in its afire. Some tapestry
handling. Many of Turner's screens are of great
water-colour drawings were beauty. Screens from China or Japan,
m a d e on paper stained grey; he was either lacquered or incrusted, are of
thus enabled to wash or scrape out his great value and are eagerly sought for
lights. by collectors. They sometimes con-
Scraper. (2) (Constr.) In rough-cast- sist of several leaves, placed vertically
ing buildings an instrument, called a and connected with one another by
scraper, is used. As will be seen from hinges. Screens of this kind also are
decorated with paintings or richly em-
broidered stuffs.
Screw-Clamp. A contrivance of wood
or iron, in the shape of a rectangle open
on one of its sides. It is
provided with a screw, as
shown in the cut. Cabinet
makers use a screw-clamp
our cuts it assumes various forms. to hold fast the materials
T h e triangular scraper is especially which they are joining. It is
useful to painters, as it enables them to also employed by photogra-
reach the ground of hollow mouldings. phers to fix their camera to the table.
Scraper. (3) A tool of very variable Scriber. (Engrav.) An instrument used
form, used to scrape a surface. Stone by wood engravers to hollow out the lines
cutters use a scra- surrounding a vignette
per to efface the or to serve as a guide
marks of a toothed in the drawing of hori-
hammer. zontal or perpendicu-
Sculptors, lar lines. T h e point of
on the other the scriber, which in-
hand, use dicates the guiding marks, ought to be
slightly blunted so as not to leave any
marks on the wood.
Scrinium. A case or box, generally
355
SCR ART DICTIONARY.
scu
ancients for holding books, rolls of parch century Torrigiano came to England
ment, &c. Its form will be readily under from Florence and modelled the figures
stood from our cut. on Henry VII.'s tomb. Nicholas Stone
Scroll. (Arch.) A system of ornament and Grinling Gibbons are the most not-
consisting of spiral able English sculptors of the 17th cen-
volutes. Ionic and tury, but the latter was better known as
Corinthian capi a carver of wood than of marble. T h e
tals, as well as English sculptors of the 18th century
,Τ-^BJ. consoles at all had little merit, they cultivated a pseudo-
g ^ y ^ ^ y epochs, are decor- classic style and not unfrequently clothed
'** ated with scrolls. their models in togas and wigs. T h e
The rococo style is nothing but the result best of them were Nollekens, Bacon,
of carrying to its and Flaxman. In the earlier half of the
utmost limits the present century no advance was made in
application of English sculpture. Little praise can be
scrolls to decora given to Baily, Chantrey, Westmacott,
tion. T h e supports or Wyatt. During the last thirty years,
of old signboards however, an immense improvement has
and various kinds taken place. Alfred Stevens, the author
of ancient iron of the Wellington Monument, was a
work present ad sculptor of genius, while there are still
mirable examples of scrolls. among us, besides Sir Frederick Leigh-
Sculp. (Engrav.) An abbreviation of ton, whose " Athlete struggling with a
the word sculpsit, which often follows Python " is a work of conspicuous merit,
the name of the engraver on engraved such distinguished sculptors as H a m o
plates ; e.g., Marc Antonio sculp. Thorny croft, Alfred Gilbert, and Onslow
Sculpture. T h e art of reproducing Ford.
objects in relief or in the round, in a hard Sculpture, French. T h e mediaeval
material which can be cut with a chisel. sculpture to be seen on the façades of
T o execute a model in clay is the process French churches is of the greatest interest
of modelling, but to translate the model and initperhapsGothic sculpture reached
into bronze or marble is, properly speak its highest point of excellence. At the
ing, the aim of sculpture. However, as Renaissance, French art fell under Italian
the artistic skill of the sculptor is almost influence, and the most celebrated French
entirely displayed in the execution of the sculptor of the 16th century was Jean
clay model, the art of modelling in clay Goujon, who got his inspiration from
is generally described as sculpture. Cellini. T h e 17th century seems to have
Sculpture, English. T h e 'English produced no great sculptor in France.
sculpture belonging to Saxon and Nor In the 18th century the most conspicuous
m a n times was very rude and primitive. French sculptor was J.-A. Houdon, while
An idea of its style may be obtained from Chaudet and Bosio were his younger
a bas-relief of the n t h century, now pre contemporaries. In the early part of the
served in Chichester Cathedral. T o the present century flourished Rude, Duret,
13th century belong the admirable Stuart, and Carpeaux. Technically
statues, which decorate the western speaking the French sculptors of to-day
façade of Wells Cathedral, and which are unsurpassed, some modern works of
are among the finest specimens of sculpture, such as those by Rodin, show
mediaeval sculpture. In the 14th or a knowledge and power which have rarely
15th centuries many excellent effigies been equalled.
were produced in England. In the 16th —, German. In the Middle Ages sculp-
356
SCU ART DIC TIONARY. SCU
ture was not practised with the success works may be seen at the British
with which it was pursued in France. Museum. H e it was who decorated the
In the 14th century, however, many fine Temple of Athene, on the Acropolis at
works were produced. T h e 15th century Athens, and made the gold and ivory
was the golden age of sculpture in Ger- statue of the goddess, which stood in
many. Many admirable specimens of the cella. H e also worked at Olympia,
wood-carving were then produced, some where the gold and ivory Zeus wa s from
of which m a y b e ascribed to Wohlgemuth his hand. T h e most celebrated of his
and his great pupil, Albert Durer. But followers were Paaonius and Alcamenes,
the most brilliant name in the history of while Polycletus, the chief of the Argive
German sculpture is undoubtedly Vischer. School, was his contemporary and rival.
T h e family of Vischer were at work in In the following century there was a
the 15th and 16th centuries and pro- second outburst of artistic energy, which
duced many masterpieces. Their best was in some measure d ue to the encourage-
work is to be seen at Nuremberg, Augs- m e n t of Alexander the Great. T h e New
burg, and Liibeck. Since the 16th cen- Attic School lacked the severity and
tury German sculpture has declined. grandeur which were the noblest char-
During the last hundred years many acteristics of its predecessor, yet Scopas
large works have been executed, in all and Praxiteles both produced works of
of which the influence of the classic great beauty and elegance. T h e head
style is obvious, but which are for the of the Peloponnesian School at this
most part without merit. Schadow, Kiss, period was Lysippus, who is chiefly
and Schwanthaler are perhaps the best remembered as the Court sculptor of
known of the modern German sculptors, Alexander. Then came the period of
but they have no great claim to considera- ruin and decay, and at Rhodes and
tion. Pergamum Greek sculpture made its last
S c u l p t u r e , Greek. Sculpture is the effort before Rome won her supremacy.
peculiar glory of Greece. It flourished S c u l p t u r e , I t a l i a n . Before the 13th
as an art among the Greeks for many century, Italy seems to have had no
centuries, and at Athens it was carried school of sculpture. In that and the
to its highest point of excellence. T h e following century, however, much ex-
earliest sculpture of the Greeks, such as cellent work was done in Italy, chiefly
the so-called Niobe at Sipylus. and the in the decoration of churches and
Lion Gates at Mycenae, was produced shrines. It is the 15th century that
under oriental influence, but in very is the golden age of Italian sculp-
early time the Greek sculptors developed ture and Florence is the city in
a characteristic style. To the 7th and which .the best work was produced.
6th centuries belong the Apollo of T h e r e flourished Donatello, Luca della
Tenea, and the well-known metopes of Robbia, Vittore Pisanello, Verrocchio
Selinus, but it is not until we approach (the sculptor of the magnificent Colleoni)
the beginning of the 5th century that we and Ghiberti, to whom we owe the great
leave the age of experiment behind. baptistery gates. In the 18th century
Then flourished Callon and Onatas, the flourished Michael Angelo, the greatest
authors of the Aegina pediment, Myron, sculptor of modern times, whose David,
whose Discobolus is familiar to all, whose Moses, are yet the wonder of the
Ageladas, the Master of Phidias, and world. Then there was Cellini, who was
others. T h e great Athenian School more renowned as a goldsmith than as
was at its zenith in the 5th century, for a sculptor, Giovanni da Bologna and
then flourished Phidias, the greatest Antonio Begarelli. Bernini is the greatest
sculptor of all time, some of whose Italian sculptor of the 17th, Canova
357
scu ART DICTIONARY. SCY
represents the decadence of the 18th ception of c o a t s - o f - a r m s or of some
century. T h e Italian sculpture of the decorative design.
present time is for the most part worth- Scutum. An oblong shield carried by
less. Vulgarity and realism of an offen- Roman foot-soldiers. It was made of
sive kind are carried to excess by men pieces of board covered with hide and
who have ever before them such models then with cloth. T h e soldiers of each
as Donatello and Michael Angelo.
Sculpture, Roman. T h e Romans de-
veloped no school of sculpture of their
own. Until, after the Conquest of Greece,
Graeculi esurientes thronged the streets
of Rome, the art of sculpture was not
known in Latium. And when it became
popular, it was only practised by Greeks,
who brought the noble traditions of
their country's art into the strange land.
Some of them contented themselves
with copying well-known masterpieces,
and it is to their copies that we owe
much of our knowledge of Greek sculp-
ture ; others produced original works,
in which the Greek convention was
piously observed. They were not dis-
tinguished men, and the names .of
most of them are forgotten. Apollonius, legion had shields of a distinctive colour
Kleomenes, Agasias, and Pasiteles are
and ornamented with their own device.
the best known of the Greeks who
Our cut is taken from Trajan's column
formed a school of sculpture in Rome.
and the shield which it represents is
Sculpturesque. Figures, attitudes, or decorated with the thunderbolt.
scenes which, from their style and the Scymitar. A sword with a curved
beauty of their lines, lend themselves
easily to reproduction in sculpture, are
said to be sculpturesque.
Scumbling. (Paint.) When the tints
in a picture are too brilliant, they may
be softened by blending them with a blade, used by eastern nations.
neutral tint, this neutral tint being laid Scyphus. (Pot.) A vase used by
on with a nearly dry brush. This pro- the Greeks as a drinking-vessel. I t
cess is called scumbling. In black and
white drawing the hard outlines may be
scumbled by being
rubbed with the
blunt end of the
chalk or the
stump.
Scutcheon.
(Her.) This is a
name sometimes was two-handled and had no foot,
*" given to a car- while its diameter decreased towards
touche or tablet prepared for the re- the base.
358
SCY ART DICTIONARY. SED
Scythe. (Her.) A scythe, with or failed, and he was finally put to death
without a handle, is sometimes borne with clubs.
as a common charge in Séchiste. (Engrav) A barbarous
heraldry. If the handle word employed by some French art
appears the scythe is then critics to designate engravers who
said to be helved; for ex- execute plates entirely with the dry
ample, a scythe gules, helved point (la pointe sèche), without using
sable. This charge is often any of the materials employed by
found in German coats-of- etchers.
arms. Secondary Colours. [Colours,
Seal. A piece of metal or stone, Secondary.]
circular, square, or oval, in which Secrétaire. A piece of furniture,
in which deeds and papers are kept,
and a panel of which draws out hori-
zontally, so as to form a table to write
upon.
Section. A drawing representing the
interior of a building, which is supposed
to be cut through in a vertical plane, so
as to show its length and breadth. T h e
359
SEG ART DIC rIONARY. SEP
360
SER ART DICTIONARY. SHA
1 SU· is called a set-off. Gothic can properly only be called sgraffito, but
buildings offer frequent ex- it is often called graffiti. T h e latter
amples of such mouldings. term, however, should, strictly speaking,
T h e term is also applied to only be applied to drawings upon ancient
--II!! the diminishing of the thick- walls.
ness of a piece of wood or Shade. T h a t part of a picture, draw-
pilaster. ing, or engraving representing objects
Setting, (i.) T h e process of placing a which, not being struck with luminous
precious stone in a bezel and holding it rays, are relatively obscure. T h e term
fixed there with small clamps of metal. also denotes the result of the mixture
All the decorative metal-work in a ring of several colours.
or necklace is known as the setting. Shaded. (Paint.) A term applied to
Setting. (2.) Drawings in pastels, cray- tones or colours, the tints of which are
on and lead pencil having a tendency to delicately graduated.
rub out, a liquid is generally laid over Shade Lines. Shade lines are em-
them with a brush, to set or fix them, and ployed in architectural and topographical
so render them permanent. Ox-gall has drawings, to in-
been used for this purpose, as well as a dicate the outline
solution of gum or size in alcohol. T h e of the shadow.
liquid is either applied directly to the They are put in
surface of the drawing, or if the paper with firm broad
used is sufficiently porous, it is put on strokes, as is
at the back of the pastel or crayon. shown in our cut.
Severe. A work of art is said to be Shadow. If rays of light fall on a n
24 361
SHA ART DICTIONARY. SHE
opaque body, the outline of the illu Shears. (Her.) This pastoral imple
minated portion of this body is pro ment occasionally appears on the coat-
jected on the nearest surface. This out of-arms of knight or gentleman. In
line is called a shadow. blazoning the herald specifies the posi
Shadow Cast. A shadow pro tion in which the shears are placed, but
jected upon a surface by a lighted they are generally represented vertical
body. T h e lines which bound cast with the blades uppermost.
shadows diverge the more the smaller Sheathed. (Sculpt.) A term applied
the luminous bodies are, and the nearer to statues, the lower extremity of which
the lighted objects approach to one is enclosed in a sheath,
which generally begins at
[^Γΐ|ΐΐΐ;ΐίΐίηιΐίιί'ΐΐιΐιιιιΐιιηιΐί'.ιιι the hips and continues
to the base. Many cary
atides are thus sheathed.
T h e advantage of this
treatment of the figure
is, that the beauty of the
torso is not sacrificed,
another. T h e more brilliantly lighted while the lower portion,
are the bodies, the more vigorous are being conventional in its
the shadows. T h e cast shadow is always arrangement, harmonizes
darker than the shadow, properly so admirably with the archi
called, if the body casting the shadow tectural forms beneath it.
and the surface receiving it are of the Sheep. In Byzantine art twelve sheep
same tonality. represented the Twelve Apostles, while
Shaft. (Arch.) T h a t portion of a Christ was pictured as the Good Shep
column, cylindrical or prismatic in herd. [Apostles.]
form, which lies between Shell. (Arch.) A vault in the shape
the base and the capital of a quarter of a sphere, sometimes de
T h e suface of the shaft is
sometimes smooth, some-
m
times decorated with flutings or foliage corated with flutings, and forming the
arranged in spirals. Half the diameter upper part of a semicircular niche.
^ of a shaft at its Shellac. A solid varnish obtained
base is called a from certain trees. When it is in a
module, and pounded form, it is called seed-lac ; when
serves as the it is in cakes with a smooth uniform sur
scale, by which face, it is called shell-lac. [ L a c ]
\ / \ ' the other parts Shelving Ridge. A surface which
r
*' "* of the column
and the entablature are measured.
Shanks. (Arch.) A term denoting
the plain spaces which separate the
channels of a triglyph in a Doric frieze. presents two sloping planes, which
362
SHE ART DICTIONARY. SHI
join at their upper end, and meet a I shield ornamented with the escutcheon
0
have been influenced by
the style of architecture
prevailing at the time.
T h e form of an inverted
Gothic arch was the model
for shields from the 13th
to the 15th centuries. During the suc-
ceeding two centuries heralds adopted
a much squarer
form, as shown
in the accom-
panying cut, pro-
bably for the sake
of its conveni-
ence in inserting quarterings. The
lozenge-shaped shield has been em-
ployed since the 14th
century for the arms
of ladies of noble
family. A lozenge is
also frequently em-
countries and in all ages. Its material ployed by the Flemish,
and form have of course changed from whilst the Italians
time to time. It has been made of make use of an oval
wood covered with hide as well as shield. T h e Germans,
of metal. Shields have been round, on the other hand,
semicircular, and oblong. Our first affect shields of a fan-
two cuts represent the shield in tastic outline. An ex-
use in the time of William the ample of such a shield, called a targe,
Conquerer ; our third cut shows a is given in the accompanying cut.
36$
SHI ART DICTIONARY. SHU
Shield of Pretence. This is a small 13th century, consisted of simple
shield borne within another shield. It boxes of wood, covered with plates of
is also called an ines-
cutcheon, and is said to be
pretended upon the main
shield. By means of this
device the husband of an
^ J heiress blazons his claim
* *" to his wife's lands, and in
the same way George III. bore the arms
of Hanover on a shield of pretence over
the arms of England.
Shingles. (Arch.) Small squares of
pine, chestnut, or oak metal. They were often large enough
cut like tiles, which to hold the whole body of a saint. To-
were used to protect wards the end of the 13th century shrines
the beams of a build- were made of gold, silver, or enamelled
ing against the drip- copper, and took the form of miniature
ping of water. T h e churches and chapels. In the 15th cen-
houses of the middle t u m they were surmounted with pierced
ages were generally
covered with shingles, which were some?
times painted or cut
into patterns, so as
to form geometrical
combinations. Small
houses in the coun-
try are still to be
seen the façades of
which are decorated
with shingles.
Shore. (Arch.) A transverse stay
placed in the trenchesspires and enriched with statuettes, and
dug at the foundation in the 17th and 18th century they were
of a building ; a piece
characterised by volutes and are of a
of timber employed swelling outline. Some ancient shrines
to strengthen empty are of sculptured and gilded wood ; these
spaces during the un- are often placed under a canopy and
derpinning of a part above the altar.
already built. Win- Shrinkage. A diminution in the vol-
dows and other open- ume of ceramic paste or terra-cotta, which
ings are frequently shored. results from drying or baking. T h e same
Shrine. A box or coffer of a precious phenomenon, though less sensible than
metal and richly carved, in which the in terra-cotta, may be observed in
relics of saints are kept ; the term bronze founding.
is also applied to a structure such as Shutter. (Arch.) Pieces of wood or
a tomb, in which relics and bones iron fitted together and serving to close
may be deposited ; the shrine of awindow or bay. Some shutters consist
St. Thomas at Canterbury for in- of a single leaf, though this single leaf
stance. Moveable shrines, before the I may consist of two leaves held together
ZH
SIB ART DICTIONARY. SIG
with iron hinges as shown in our first | necessarily be of the same tincture as
L , cut ; other shut- the blade of the sickle. T h e cut shows
-tàmïLjL Ί • t e r s a r e c o m P o s e d a sickle with a jagged edge.
["^^ffÉlJ^Blί"· ·' °f planks of wood, Side Aisle. (Arch.) T h e lateral nave
'ΪΒΙΜΚΒΓ^ w h i c h fit i n t o of a church, the vault of which is not so
| ι I § l||iBfflu|Ϊ7'\ grooves. In old- high as that of the principal nave. It
! t''l^W|r-< fashioned shops is only at the end of the n t h century
l-TliSpi^HP'Wp t n e s e moveable that the choirs of churches were sur
" " ^ ^ ^ T p J ^ J n » shutters, fitting rounded by side aisles. Some churches
^Λ* into grooves, were consist of a nave and four side aisles ;
invariably us 3d. T h e most modern kind but these are the exception, the gene
of shutter is a mechanical arrangement ral rule being that churches should
of slips of wood or a sheet of iron, turn have two side aisles. Their breadth
is variable.
S i d e r o g r a p h y . T h e art of engrav
ing on iron or steel, which was much
practised in the 15th and 16th cen
turies, and was restored to honour early
in the present century by American
artists.
Sienite. (Sculp.) A coloured marble,
which was originally quarried at Syene
in Egypt. It was used by the ancients,
ing round a horizontal cylinder, placed both in sculpture and architecture.
above the opening or window, and put Sigillography. T h e study, description
into its place by means of a wheel. and interpretation of historic seals.
Sibyls. In ecclesiastical art, especially S i g n a t u r e . In old books, and indeed in
in the stained glass of the middle ages, many modern books, too, certain marks,
we find figures called Sibyls, who are called signatures, are put at the bottom
associated with the prophets. They are of the first page of each sheet to facili
mythical creatures, and it is impossible tate their arrangement.
to explain their origin. In number they Sign-board. T h e sign-board of the
are twelve, each having her own emblems middle ages and renaissance generally
and attributes. In modern times Mr. consisted of a bracket of iron supporting
Burne-Jones has made many designs of a sheet-iron panel. Some were deco
the Sibyls and introduced many of them I rated with scrolls of extraordinary pro
into his glass windows. I fusion ; of these many specimens are pre
Siccative. (Paint.) Siccative or drying j served in museums. In addition to sign
oils are those which form a permanent boards of sheet-iron there are in existence
coat on the surface to which they are curious bas-reliefs and interesting paint
applied, and prevent it undergoing che ings which served the purpose of sign
mical change. They are used in the boards in the 17th and 18th centuries.
preparation of painters' varnishes and These sometimes represent quite com
colours. They are obtained by plicated scenes, such as the interior of
/F~ adding litharge, white lead, black shops thronged with a crowd of people,
«i umber, and talc to linseed oil. and are of the utmost importance in the
^te Sickle. (Her.) This well- history of costume, arts and trades.
II known implement for cutting | Some distinguished artists, too, have not
Urjj, corn sometimes appears in I deemed it derogatory to paint sign
coats-of-arms. T h e handle need not I boards. Watteau, for instance, painted
365
SIL ART DICTIONARY. SIT
a sign-board for the picture-dealer Ger- Sinister. (Her.) T h a t side of the shield
saint, Géricault a " White Horse," &c. which would be to the left
Silhouette. A term applied to draw- of a m a n standing behind
ings or portraits, which m a y b e described it is called the sinister.
as solid masses of black upon a light T h u s the sinister side of a
ground, their outlines only being indi- shield comes to the right
cated. T h e term also denotes the out- hand of a person looking
line of the shadows cast by illuminated at the shield.
bodies Sinking. (Arch.) A sudden depres-
Sill. (Arch.) T h e surface formed by a sion of the ground, which causes the
« course of stones out- destruction of the superincumbent
T?i<//|jlL· side a window. Some- masonry.
1 (-|ft\ times the stones form- Sinopie. (Her.) [Vert.]
"%"nrçBEsfei· *n& ^ e s *·^ a r e co
~ S-iron. (Arch.) A piece of iron, gener-
} -l|te^f· vered with one long, ally in the shape of an S, sometimes in
flat stone, running the the shape of a geometric pattern or of
whole length of the foliage, which is attached vertically
window, the purpose to a wall, and is connected by a hold-
of which is to pre- fast to horizontal pieces of timber-
vent the rain from work.
penetrating the joints Sistrum. An instrument used by the
of the lower course. Egyptians in the
Silver-plating. A process consist- festivals of Isis just
ing of covering metal objects with a as the bull-roarer
coating of white lead and then with still is among some
silver leaf. T h e objects are afterwards tribes of savages to
burnished and covered with a spirit warn off the un-
varnish. initiated. In struc-
Simon Zelotes, St. One of the Apostles. ture it was very
H e is generally represented with a saw simple, consisting only of some metal
as his attribute, in allusion to the tradi- rods inserted (as our cut shows) in a
tion that h e was sawn asunder. Accord-
ing to one legend St. Simon was a brother
of Jesus, and hence he is sometimes,
though rarely, represented in pictures of
the Trinity.
Simplicity. When the effect of a work
of art is produced by unity of line and
largeness of mass, when the attention of
the spectator is not diverted by restless
detail, it is said to possess simplicity.
T h e magnificent figures from the
Parthenon, the finest products of
the sculptor's art, owe much of their
grandeur to their monumental sim-
plicity.
Simpulum. A sort of vase with a long metal frame. It was rattled violently
handle, somewhat resembling a modern to produce a noise.
ladle which was used for taking wine Sitting. (Paint.) A term applied to
out of a crater. the space of time during which an artist
366
SIZ ART DICTIONARY. SKE
works, either from nature or from a or plaster cast is built up, its pur-
model. T h u s an artist may be said to pose being to
finish a sketch at a sitting. If the mat- strengthen the !
ter be looked at from the point of view weak parts of the
of the model who sits to the artist, it cast or model.
has a slightly different meaning. A Sketch. A rapid
portrait, for instance, may want one or design executed
two more sittings (of the model) to be from nature, or
finished. the record of a
Sizing. (Paint.) T h e purpose of picturesque idea.
sizing is to render drawing-paper fit to If it is made from
receive a wash of any colour whatso- nature, it should
ever. T h e paper is smeared with a be in as few
sponge soaked in a mixture of white strokes as possi-
soap and Flanders size, to which pow- ble, and should be sober in detail, so
dered alum and a few drops of alcohol as not to have the effect of a finished
have been added. work. T h e first suggestion of a compo-
Skeleton, (i.) T h e osseous frame of sition is generally set forth in the form
a man. Many of a sketch, and it often happens that the
artists keep transcription of an idea is more brilliant
s k e l e t o n s in and charming than the finished work.
their studios, Sometimes painters sketch their works
which are arti- on the canvas, putting in the general
;
ficially jointed outlines of the drawing before they
with brass wire. begin to paint. T h e lights are not
Skeletons thus sketched in the same way as the
arranged will shades. Account must be taken of the
assume almost effects which the tones applied to the
any position at canvas will produce as the artist ad-
will, and so are vances in his work, and in putting in the
of the utmost sketch the artist must take care not to
service to the cover those portions of the picture
artist, for they which must remain transparent, and
enable him in his drawings to set the should allow the grain of the canvas
limb properly on the trunk, and to verify to be seen. T h e slighter the sketch the
the projection of the bones. more likelihood is there of producing a
Skeleton. (2.) (Sculp.) A series of good result. A sculptor's sketch is the
first suggestion of a statue or bas-
relief, in which the artist does nothing
more than hint at the attitude and lines
of the figures. Sometimes the sculptor
works up his sketch into a finished
work, carrying out all the details with
accuracy and precision, but more often
he leaves the first sketch as it is,
and starts another on a different scale.
When we say that a work is a mere
sketch, we mean that it is unfinished,
nothing but its main outlines being sug-
bars 01 iron, round which a clay model gested.
367
SKE ART DICTIONARY. SMO
36^
SMO ART DICTIONARY. SOM
369
SOP ART DICTIONARY. SPH
Sopra Bianco. (Pot.) A name given with which moulders take the plaster
to a kind of Italian faïence, which is from the bowl and spread it in the
decorated with designs of a clear milky mould.
white standing out on a delicate white Spectrum. T h e image produced by a
ground. ray of light crossing a crystal prism, the
Sounding-board. (Arch.) [Abat- colours of which, joining one another
voix.] by imperceptible shades, are violet,
Space. In a picture a figure is said to indigo, blue, green, yellow, orange, and
lack space when it is placed in a red.
frame of too narrow dimensions, so that Speculum. T h e mirror of the ancients
it appears cramped and confined. was made either of a white metal, (a
Span. (Arch). T h e span of an arch is mixture of copper and tin),or else of silver.
the width between the imposts. In order that it might give a bright re-
Spandrel. (Arch). T h e triangular flection its surface was highly polished.
space included between the convex or Its back was often decorated with in-
outer surface of an arch and the rect cised designs of great beauty, and mirrors
angular moulding which surmounts the form an important class of ancient works
arch. T h e spandrels of doorways in of art.
Gothic buildings are frequently richly Sphere. A solid figure produced by a
decorated with carvings. semicircle turning on its diameter as its
Spangle. A small leaf of thin metal, axis. T h e term is also
circular in shape, and with a hole commonly applied to
pierced through its centre, so that it can globes representing the
be fixed on to a stiff material with thread surface of the earth. By
or silk. Spangles scintillate brilliantly the term armillary sphere
in the light. T h e court dresses of we denote a celestial globe
the 18th century were decorated with formed of circles representing the move-
garlands and other designs formed of ment of the stars.
spangles of gold and silver. Spheroid. A solid figure having the
Spar, Fluor. A mineral, which in form of a flattened
fusion dissolves metallic oxides, and thus sphere. It is produced
produces a kind of crystal, the colour of by half an ellipse turn-
which varies with the nature of the metal ing about on one of
dissolved. With this spar candelabra, its axes. T h e terres-
vases, and other decorative objects are trial globe may be
made. described as an oblate spheroid.
Spatula. The spatula used by painters Sphinx. A monster having the head
and breasts of a
woman, the body
of a lion and the
wings of an eagle.
T h e term is also
in enamel is the instrument with which applied to colossi
the powdered enamel is taken hold of of granite found
and spread in ancient Egypt,
over the sur- Near the pyramid
face of the of Cheops there
plate. The still exists a huge
spatula used sphinx cut in rock, which measures
in sculpture is a trowel-shaped tool, twenty metres in height and forty
370
SPH ART DICTIONARY. SPH
metres in length. Some authorities and their pieces were joined together by
hold that the nails. T h e surface of these primitive
Great Sphinx
is nothing
more than a
solitary rock,
to which the
ϋ Egyptians gave
its present
^ form by means
of blocks of stone skilfully arranged,
at Vulci, which is almost childish in its preceding period. They were, how-
simplicity, the other a vase, in which ever, ornamented with crockets, &c.
grace and proportion are by no means In the Perpendicular period spires
lacking. retained the same form, and almost
Spikes. (Arch.) Ornamental pieces of invariably had a gutter and parapet
iron curved into all sorts of shapes and at their base. This was not the
always armed case in earlier times, when broach
wi t h sharp spires, or spires springing straight from
points, which the tower, without a parapet, were
are put on the common.
summit of walls Splay. (Arch.) T h e term splay is
to prevent them applied to any sloping surface, but
being scaled. especially to doorways or windows, the
They afford an width of which is increased by their
excellent op- sides sloping inwards.
portunity for Springing. (Arch.) T h e springing of
artistic treatment, and they are some- an arch or vault is the point from which
times admirable specimens of decorative it rises.
iron-work. Springing-stone. (Arch.) T h e stone
Spiral. A plane curve describing which supports
several revolutions round a fixed point, the haunch of
its distance from this point becoming an arch or vault
greater at· each revolution. is called the
Spire. (Arch.) springing-stone,
A pointed pyra- and the lowest
midal bell tur- line of the arch
ret, sometimes is s i m i l a r l y
of stone, but wknown as the
more often of springing-line.
wood covered Spur-post. (Arch.) A piece of twisted
w i t h lead or iron, set against the wall at the en-
tiles. Spires are trance of a porte-
not found in cochère, at about the
England before height of a step.
the Norman pe- T h e purpose of it
riod, and then is to keep off the
they are neither wheels of carriages
lofty nor taper- from the corner, as
ing. I n t h e well as to protect
Early English the doors when they are open.
period they Square, (i.) A plane four-sided figure,
were carried to the four sides of which are axe i- »
a great eleva- equal, and all the angles
tion, and were which are right angles.
generally octa- Square. (2.) T h e square used in draw-
gonal. The ing is a thin plate of wood, in the shape
spires of the of a right-angled triangle, pierced with
Decorated pe- a circular opening or eye, so that it
riod did not may slip easily on the paper. With
differ much from the spires of the the square and ruler perpendiculars
372
SQU ART DICTIONARY. SQU
f "^JM
-__JÌj
It consists of a cylinder, the
lower portion of which is
|^!Jr9S| movable, and works on a
cute a composition on a large scale after
a given model. It will be readily seen
that by the process of squaring a
I Vil screw. Slits made in the sketch may also be reduced. The
cylinder take the place of the method is as follows : T h e model is
pinnules of the graphometer, divided up into a certain number of
and allow the operator to equal squares, and the surface, upon
look in all directions perpendicular to, which the model is to be reproduced, is
or at an oblique angle to, any given also marked out in the same number of
line. equal squares, less or greater than the
—, Octagonal. A surveyor's square in
the form of an octagonal prism.
—, of 45 degrees. A drawing square,
having one right angle and two angles of
45 degrees. It is often used with the T-
square and planchette, and
with its aid are traced archi-
tectural designs, the projec-
tions of mouldings, & c , while squares on the model, according as it is
in shaded drawings it is used the artist's purpose to reduce or enlarge
to trace the direction of luminous rays, the original sketch. Large mural paint-
which, by a convention generally adopted ings, as well as important easel pictures,
in projections, are directed at an angle are designed in this way. T h e advantage
of 45 degrees from left to right. of the process is considerable, as the
—, Set. A square in the form of a sketch, which enables the artist to see
right-angled triangle, the general effect of his work, can be
resembling in form accurately reproduced. In the squaring,
half the pediment of which is a tedious job, and must be
. an ancient temple, carried out with the most scrupulous
and hence called in exactitude, painters are often assisted
French êquerre à fronton. by their pupils, deeming it enough if
—, Sliding. A flat piece of metal, with they themselves correct errors of tran-
divisions mea- scription.
sured upon it, Squinch. (Arch.) A truncated vault
to which two of considerable projection. A number
other pieces of metal are perpen- of stones arranged so as to form a shell.
373
STA ART DICTIONARY. STA
374
STA ART DICTIONARY. STA
steps of which do not follow a straight Stake. A piece of wood or iron
line but a curve. driven into the earth. At the top of
the stake, as employed by surveyors, a
~M
ing round a core, which is generally
cylindrical, or in
the midst of drawing foundations. In some cases,
which a vacant especially in the cutting of new roads,
space is left. stakes, consisting of long poles with a
This form of flag attached to them, are set up on
staircase is also the top of houses to serve as guiding
termed a wind- points
ing staircase or Stalactites. (Arch.) A kind of archi-
a hélicoïdal stair- tectural decoration, consisting of pro-
case, and it also jecting rustic-work. It
resembles a vyse (q.v.). suggests the appear-
Stair-rail. A balustrade of wood or ance of the petrified
iron, which is arranged along the edge of concretions formed
in caves and grottoes
which are known by the name of Stalac-
tites.
Stall. A wooden seat with a high back
Rows of stalls are placed round the choir
in churches. In Christian basilica^ the
stalls were of stone or marble. From
the 13th to the 16th century stalls were
generally of wood and decorated with a
marvellous profusion of carvings. These
a staircase, and serves as a support. carvings were frequently grotesque and
375
STA ART DICTIONARY. STA
free, not only in style but in subject. Star. (Arch.) An architectural orna-
T h e r e are few of the English cathedrals ment, painted, sculptured, or incised,
consisting of painted rays which vary in
number. In Roman-
esque architecture
fleurons (q.v.), to
which the term star
is applied, are ar-
ranged on surfaces
in various geome-
trical patterns, or are
set side by side so as to form a continu-
ous system of ornament.
Starling. (Arch.) An angular pro-
jection on the piles
of a stone bridge,
so situated as to
divide the current
376
STA ART DICTIONARY. STE
Statue. A work of sculpture in the bell-turrets at their corners. In the
round representing the human figure. A 14th, 15th, and 16th centuries the same
statue in marble, bronze, or wood. A principles were followed ; the spires or
colossal statue. pyramids terminating steeples became
—, Equestrian. A statue representing lighter and were pierced. Steeples are
a person mounted on horseback. sometimes included within the general
—, Monumental. A term applied in the plan of the building, sometimes they are
Middle Ages to statues representing re- built without reference to it. This
cumbent figures and covering a tomb, depends on the period to which the
steeple belongs and the vicissitudes
which the church has undergone. Some
churches have two towers or steeples,
generally at the west end. T h e full
complement of towers in a cathedral
above which they are only raised by a church is three, two at the west end
slab, which is often of inconsiderable and one over the crossing.
thickness. Stele. By this term we denote ancient
—. Persian. A term which is some- monuments in the form of monoliths
times, though rarely, applied to architec- placed vertically, the inscriptions upon
tural figures, which serve as caryatids. which serve to commemorate an historic
Statuette. A statue, the dimensions event or to pre-
of which are very much less than those serve the memory
of the h u m a n figure. A statuette half of the dead. Some
life-size ; a statuette in bronze, or terra- of the most in-
cotta. teresting relics of
Stay. (Arch.) A piece of timber in- Greek and Roman
troduced into a building to form a art are stelce, upon
support. which is sculp-
Steeple. (Arch.) A tower, in which tured the likeness
church bells are hung. In of a departed man.
the n t h century steeples In the British
were built on a quad- Museum is to be
rangular base. They con- seen a most in-
sisted of several storeys, teresting collec-
slightly retreated the one tion. In modern
behind the other; they times the term is loosely applied to
were pierced by open- broken columns, cippi or square stones
ings, strengthened at which serve as funeral monuments, and
their angles by but- even to the small colonnettes sup-
tresses, and were termi- porting a decorative object, such as a
nated with a pyramid on statuette or vase.
a square base. In the Stencilling. A method of executing
12th and 13th centuries decorative paintings, which was once
steeples were quadrangu- very popular, but is now seldom resorted
lar in base alone ; as to. Patterns are cut out of a piece of
they got higher they be- card, which is laid upon paper. Colour
came octagonal and were is then laid on, and only reaches the
terminated with a tower, paper, where the card has been cut out.
and sometimes, though rarely, sur- T h e advantage of this process is its
rounded with a balustrade and had extreme simplicity.
25 377
STE ART DICTIONARY. STI
Step. (Arch.) T h e steps in a stair- the Christian martyrs, persecuted by Paul
is frequently represented in religious
pictures. T h e Stoning of St. Stephen
was a very favourite subject with paint
ers of all schools. When represented
alone, St. Stephen always appears as a
youth, wearing the vestments of a deacon.
çmm^'·-— H e holds a palm in one hand and the
scriptures in the other, and as a rule
case are the horizontal parts upon
stones lie at his feet.
which the foot is placed. T h e steps of
a staircase in the in- Stereobate. (Arch.) A continuous
terior of a building, base with neither moulding, base, or
£3/» whether they are of
wood or stone, are
generally bordered with a projecting
,,ιΐ^Ι Α,.,,, moulding, cal
led an astragal,
the profile of
which is either
a quarter
round or an cornice (στερεός, solid). By the term
apophyge. stylobate we designate pedestals which
—, Corner. have mouldings.
Corner steps are steps situated at the Stereography. T h e art of drawing
turn of a staircase. They are broader solid bodies upon a plane surface and
than the steps immediately above them. indicating the relief by shading.
—, Moulded. A step is said to be Stereometry. T h e art of measuring
moulded when it is bordered by a bodies in relief.
moulding. Stereotype. T o stereotype is to re
—, Straight. A step which is of the produce by the process described under
same width through- the term cliché (q.v.) printed pages set
out. T h e s t e p s in moveable type, together with the
which led up to an woodcuts with which they are illustrated.
cient temples were After a page has been stereotyped, the
nearly a l w a y s type may be distributed. T h e invention
straight and very of stereotyping has had a most important
rarely had an astragal or moulding on effect not only on the art of printing but
their edge. also on the art of engraving.
—, Weathered. A step, the upper Sticciato (Sculp.) An Italian term
surface of which is inclined at an angle, denoting a work in relief, which hardly
instead of being horizontal. projects from the surface of the marble
—, Winder. Steps arranged like the or plaster upon which it is carved or
radii of a circle. Modern modelled.
staircases, built either S t i l d e grain. (Paint.) A term applied
in circular cages or in to certain greenish-yellow pigments
rectangular cages with obtained like lakes by precipitating
rounded corners, present the decoction of buckthorn berries or
many examples of winder steps. French berries.
Stephen, St. St. Stephen, the first of Still life. (Paint.) A term which
Z7S
STI ART DICTIONARY. STO
includes all pictures having for their building. Stones are sometimes put
subjects fruit, flowers, vases, and other into walls in the rough state in which
inanimate objects which generally form they leave the quarry ; sometimes they
the accessories and not the main interest are carefully squared on all their surfaces
of a picture. T h e Dutch have chiefly before being used.
excelled in the painting of still life. A Stone, Druidic. A Celtic monument,
picture of an inanimate object is itself consisting of a stone, considerably
called a still life. higher than its
Stilus. A pointed instrument with breadth, planted ver-
which the ancients traced letters upon tically in the earth.
a tablet covered with wax. These stones are
Stippled. A painting, drawing or called Peulvans or
engraving is said to be stippled when it menhirs, and in Celtic
is executed by means of a series of points remains are found
and not by flat tints or hatchings. variously combined.
Stockade. (Arch.) A barrier formed [Dolmen.]
of stakes, the purpose of which is to —, Engraved. A precious stone en-
strengthen the base of the piles of a graved in cameo or intaglio, i.e., either
bridge or to defend the entrance of a in relief or incised.
harbour, river or canal. —, Gall. (Paint.) Gall stone yields
Stola. (Cost.) A garment worn by a tone approaching that of natural earth
Roman women. It was long and reached of Sienna. It is used by painters of
to the feet, being girt round the waist by miniatures and fans, who, by means of
a girdle. It had sleeves and was some- a solution of gall stone, render the vellum
upon which they work less rebellious to
the tints applied to it.
—, Precious. A hard stone employed
in jewellery and works of art.
—, Rocking. A Celtic monument
consisting of
two blocks of
stone placed
one upon an-
other in a
p o s i t i o n of
equilibrium,
so that the very slightest movement is
enough to make the upper block oscillate.
—, Tomb. A stone, generally incised,
which covers a grave. It is placed either
on a level with the ground or set in a
vertical wall. T h e r e are many tomb-
stones of the Gothic period and the
Renaissance, which represent historic
times fastened at the shoulder by a personages and are valuable documents
brooch. It was as characteristic of the in the history of costume. Some tomb-
Roman matron as was the toga of the stones, too, are very richly ornamented.
Roman citizen. T h e figures traced upon them, though
Stone (Arch.) A piece of siliceous quite hastily drawn, are often remarkable
or calcareous rock or quartz used in for their grandeur and vigour.
379
STO ART DICTIONARY. STO
380
STO ART DICTIONARY. STR
piscines, which had been placed in some stoups in existence in the shape of
churches for the ab- immense shells, which are made fast to
lutions of the wor- a pillar or placed upon pedestals of vari-
shippers. In the 12th ous forms.
century stoups took Strainer. A kind of double frame of
the form of simple wood. Round its circumference run
octagonal vessels ;
in the 13th century
they were set against
the wall, and so gave
an opportunity for a good deal of decor-
ation. In the 14th and 15th centuries
they were either circular or polygonal,
and were supported by a colonette, while grooves, in which the edges of a strip of
during the Renaissance they consisted of damp paper may be fixed. As it dries
a large basin, which the paper stretches, and so gets a per-
tapering ba- fectly smooth
surface. Strain-
ers are used to
stretch paper
on which water-colour drawings or
sketches are to be made.
Strapaese. A piece of French artistic
slang, an epithet which may be applied to
painted or sculptured figures the atti-
tude of which is twisted or exaggerated.
Strap-work. A form of ornament, con-
luster to support it. Finally there are sisting of bands or fillets interlaced and
intertwined as in our cut. It is found in I it did not come into common use until
some buildings of the n t h century, but | the end of the Renaissance period.
3«i
STR ART DICTIONARY. STR
u1HHHEi
When the picture port of a stair-
is framed, the case on the side
sliiiÈiiiiin'.ì! thickness of the farthest from the
stretcher is con- wall. String-
1Ml
cealed in the boards may be of
frame. In the kind wood or stone, they may be grooved or
wÊBÈKm of stretcher repre- twisted, plain or decorated with mould'
sented in our first
cut, which by the way is not used in
England, the pieces of wood of which
the stretcher is composed are held in
their places by
small transverse
slips, one at each
angle. T h e ad- ings, and they generally spring from the
vantage of the first steps.
stretcher with String-course. (Arch.) A narrow
keys, represented moulding, which runs horizontally along
in our second cut, the wall. It projects but little from the
is that by driving surface.
in the keys the tension of the canvas Strip. (Arch.) A small piece of timber
may be increased. strengthening a rafter or ridge or sup-
382
STR ART DICTIONARY. STU
porting a beam of wide bearing. Strips on the part of its author. T h u s we
say of a picture, " T h e draperies are
closely studied," or of a landscape that
" i t s foreground is well studied."
Studio. T h e place in which a painter
or sculptor works. All studios should
face north, for then an artist can work
are nothing more than a kind of strut as long as daylight lasts without being
b e a m (q.v.). inconvenienced by the rays of the sun ;
Struck. Any object which has received moreover, light coming from this quarter
an impression from a die, such as a coin is more equable and fresher than from
or medal, is said to be struck. any other.
Structure. T h e manner in which a Studio-box. (Paint.) A table with
building is constructed, also the building drawers, the upper part of which forms
itself. Metaphorically the term is used
to denote the way in which the human
figure, either in painting or sculpture, is
rendered from the anatomical point of
view. T h e structure of a figure may be
said to be perfect or faulty, as the case
may be.
Strut beam. (Arch.) A piece of wood
used to strengthen timber-work, by
diminishing the
bearing of a beam
or upholding a
wall which needs
to be consoli-
dated. T h e strut
beam is almost
always placed ob- a box, in which colours, brushes, & c .
liquely, and is are kept.
sometimes held Study. A sketch, the execution of
in its place by wedges driven in with a which is precise and searched ; a drawing
hammer. or painting from nature or the living
Stucco. (Arch.) A coating with which model. It is from studies that a painter
walls are covered, and which takes the builds up and composes his pictures.
polish of marble. Stucco consists of a Stump. A piece of leather or paper
mixture of slaked lime and pulverised rolled in a cylindrical form, and bound
marble or sometimes alabaster or plaster. round with thread. At each end it has
But stucco formed of this last mixture is a blunted point. T h e stump is used
less capable of resisting damp. The for blending together the hatchings
stucco with which the outside of build-
ings is coated is sometimes composed
of puzzolana and pieces of tiles reduced
to powder. It is the opus albarium of of a crayon drawing, and also for lay-
the Romans. ing the black or grey tones of the crayon
Studied. A painting or piece of sculp- directly on the paper. Its use cannot
ture is said to be studied when it dis- be recommended, as it gives a drawing
plays profound knowledge and research a soft cottony appearance. T h e dis-
383
STU ART DICTIONARY. SUB
advantages of the stump have recently façade or a row of columns. In build-
been set iorth in the following terms:—
" T h e stump does not teach drawing, as
it cannot teach painting; in point of
fact the use of the stump is likely to
injure the painter's art, as it may en-
gage his sympathies for darkness rather
than light, for shadow more than for
colour. Nor does the stump help
drawing, because the use of it is anti- ings of the Renaissance period of the
pathetic to a line. This feeble inven- centuries which followed it, sub-base-
tion is neither a severe enough instru-
ment for the draughtsman, nor is it
pliable enough for the painter. It is a
kind of middleman whom we with all
our hearts desire to be rid of."
Stumped. A term applied to draw-
ings shaded with the stump. The
laborious drawings from the antique
produced in schools of art are generally
stumped. ments are generally found running round
Style. T h e word style denotes in entrances and are decoiated with rustic
artistic phraseology the manner peculiar work. In Gothic a
to an artist or epoch. For instance, the buildings sub- 1.1,
style of Raphael, the Gothic style, the basements are
Italian style. T h e word is also used in generally found
connection with works of a noble char- running round
acter, in which the figures are drawn or entrances, and
modelled in a key of lofty sentiment. are decorated
T h u s we speak of a work of the grand with a profusion
style, of figures which lack style. of sculptured
Stylobate. (Arch.) A pedestal with ornament, re-
moulding, base and cornice running presenting rich
round a building ; draperies, blind
a projecting sub- arcades or sym-
basement deco- bolic and gro-
rated with mould- tesque bas-reliefs inscribed in trefoils,
ing, following the quatrefoils, &c.
ressaults of a fa- Subject. A term applied to the
çade. T h e word motive, historical or conventional, real
is synonymous or ideal, which an artist chooses for
with plinth, at interpretation in his work. For in-
least when the stance, a happy subject, an ill-chosen
plinth is decorat- subject. Some subjects do not lend
ed with mouldings. Plain, undecorated themselves easily to artistic treatment :
sub-basements are called stereobates others, on the other hand, are an inex-
(q.v.). haustible mine of wealth. It is not too
Sub-basement. (Arch.) The lower much to say, however, that subject of
part of a construction. A continuous itself can never make a picture interest-
socle (q.v.) running round the base of a ing. A great subject, if not greatly
3S4
SUB ART DICTIONARY. SUP
treated, is of no avail. Pictorial art is cylinder, to which one of its ends is
not a debased species of literature, and attached. It is used to protect a window
it is nobility of line and colour, treat- from the heat of the sun and the brilli-
ment, in fact, which alone can make a ance of the light. Sun-blinds may be
picture great. placed either inside or outside a window.
Sub-ordinaries. (Her.) T h e sub- In museums and picture galleries they
ordinaries, though of less dignity than the are indispensable to diminish the glaring
honourable ordinaries, are of frequent effect of the sunlight. They are gene-
occurrence in heraldry. They are six- rally of some soft texture, but they may
teen in number :—the Canton, Gyron, be made of very thin bamboo canes, as
Inescutcheon, Orle, Tressure, Lozenge, indeed they generally are in China and
Fusil, Fret, Flanch, Flasque, Mascle, Japan.
Rustre, Label, Billet, Bordure, Pile. Sun-dial. A plaque set either verti-
Descriptions of these sub-ordinaries will cally or horizontally, on which the hours
be found under the different headings. are marked. ,
Sudarium. A term applied to the T h e time of (~''7!r}%'' '
handkerchief upon which S. Veronica day may be
took an image of the face of Christ. told from the
Suite. A term applied to a collection depth of the
of pictures, the subjects of which are shadow cast
taken in a certain order of ideas or on the face
events. For instance, the suite of pic- of the dial by
tures painted by Rubens for the gallery the Gnomon.
of the Medici. According to
Sulphur. A sulphur is an impression Viollet-le-
taken from an engraved plate upon a Duc sun-dials
thin layer of sulphur, which was laid were set up
upon the plate in a melted state. Some on the high-
" sulphurs " of goldsmiths' work are still ways as early
preserved, and they have an artistic as the 13th century. In the 14th and
importance, because they form a curious 15th centuries they were placed against
link in the history of engraving. the walls of churches and other build-
Summer. [Bressummer.J ings.
Summit. T h e upper extremity. T h e Sunk-in. (Paint.) When colours, after
summit of a building. T h e point at they have dried on the canvas, lose
which the sides of an angle or the faces their brilliance, they are said to have
of a solid meet. T h e summit of a tri- sunk in.
angle ; the summit of a pyramid. Sunset. (Paint.) It is a common prac-
Sun-blind. (Arch.) A long strip of tice among artists and art critics to
describe a picture by the effect which
the painter wished to produce Thus
we speak of a sunset by
Claude Lorraine or by
Crome.
Support. A piece of bent
iron, which is driven ob-
liquely into an opening
made for the purpose, and
holds a piece of wood on
stuff, which may be rolled up on a small a bench. Wood carvers fix the block
385
SUP ART DICTIONARY. SYM
on which they are working with a chisel form should be distinctly marked This
by means of a support charge is, however, of very rare occur
of this kind. rence.
Supporters. (Her.) T h e Sylvester, St. St. Sylvester was the
figures which stand upon Bishop of Rome who is said to have been
each side of a shield. instrumental in converting Constantine
Only persons of noble to Christianity. In order to convince the
rank are entitled to sup Empress Helena of the truth of the
porters. Christian faith he restored to life a bull
Surbased. (Arch.) An arch or vault is which had been slain by a magician.
said to be sur Hence a bull is his attribute in ar
based when its tistic representations, in which he
height is less himself always appears in episcopal
than half the vestments.
length of its Symbol. A conventional representa
springing line. tion of figures or objects, which are the
Surcoat. (Cost.) A garment worn in sign of an idea ; a figure is said to be
the Middle Ages over armour. T h e coat- symbolic when it embodies certain
of-arms of knights was frequently em attributes and characterises an abstract
blazoned on their surcoat. idea. For instance, we speak of a
Surface rib. (Arch.) A sharp rib figure symbolic of victory, the soul,
placed at the angle of a Gothic vault. thought, &c. T h e attributes of music,
Surmounted. (Arch.) An arch or painting, sculpture, & c , have a sym
vault is said to bolic value.
be surmounted Symbolism. T h e principle applied in
when its height Gothic architecture, by which, in paint
is more than half ing or sculpture, the virtues and vices
"\**""'. the length of its are represented under the form of
** springing line. persons or fantastic animals. By t h e
Sustained. (Paint.) A scheme of term " symbolism of art " we under
colour, which is at once free and ener stand the conceptions peculiar to each
getic, or solid tones which enhance the epoch, to each architectural style, in
effect of the modelling, are said to be which the beliefs of the people are
sustained. expressed.
Sword. A sword is a common charge Symmetry. A system of ornament, in
in heraldry. In religious pictures angels which the motives are reproduced exactly
and archangels are frequently armed on each side of an jy$.
with a sword of undulating blade, called axis real or imagin
a flaming sword. At all periods of his ary passing throught
tory, and in all centuries, the sword, the centre of the
which is pre.-eminently the weapon of composition. In the
valiance and noblesse, has been orna Gothic style abso
mented and enriched with all the re
sources of decorative art.
Sycamore. (Her.) An
heraldic sycamore is a
lute symmetry can
scarcely be said to
exist. At one end
of the building, for
•η i
piece of armour in the instance, there may be a belfry, at the
shape of a barrel hoop. other a simple gable. Many church
T h e binding that fastens doors are flanked by towers or bell
the hoop and keeps it in a circular turrets of different styles, epochs, and
386
SYS ART DICTIONARY. TAB
proportions. During the period of the hollow, placing his elbows on the pro-
Renaissance, jecting por-
and from that tions, which
period down to serve as sup-
the present day, ports. This
the principles table is some-
of s y m m e t r y times fur-
have, as a rule, nished with a
been rigorously projecting rim, which prevents the
applied to the façades of buildings. engraver's tools from slipping off.
Systyle. (Arch.) In ancient archi- —, Model's. A kind of platform or
tecture a temple is said to be systyle support, set upon short legs. It pre-
when the distance between any two of its sents a considerable horizontal surface
columns is one and a half times the raised above the ground and upon it
diameter of the columns. living models pose, especially for the
benefit of art students, who make studies
from the life.
Tables. (Paint.) In Latin the term
T. tabula was applied to an easel picture,
387
TAB ART DICTIONARY. TAR
Tablinum. (Arch.) A small room in a the most resistance, and it is this which
Roman house situated near the atrium, is most frequently employed in military
in which the family archives were kept. architecture.
Tachiste. A term used in French art Tan. A reddish brown colour, tinged
criticism to denote those impressionists slightly with yellow.
who see no charm in a picture beyond Tanagra figures. Terra-cotta figures
taches or strong touches of varying made in ancient times at Tanagra in
colour and intensity, which are not Basotia. Tanagra figures are very
blended with the ground. delicate in execution and
Taenia. In the costume of the of inexpressible charm.
ancients taenicz were the ribands Some are gilded, others
which were twisted round the fillet painted, and they are
worn by priests and others. It was the highly prized by collec-
taenia which served to fasten the fillet. tors. T h e finest of them
As an architectural term taenia denotes date from the 5th century
the fillet which, in the Doric order, separ- B.C., and are thus con-
ates the architrave from the frieze. temporary with the Elgin
Tailpiece. (Engrav.) An engraving on marbles. T h e interest they
copper or on wood, or a possess, as showing us of what the more
cliché of a wood block, homely side of Greek sculpture was
used to illustrate a book. capable at this period, can hardly be
Tailpieces are as a rule overrated.
merely ornamental, and Tangent. A term applied in geometry
are placed at the ends to a straight line, which has only
of chapters. a point in common with a single
Talaria. A sort of sandal, orna- curve.
mented with wings Tapestry. Tapestry may be defined
fastened with as painting in textile fabrics. In tapes-
thongs to the feet try designs are obtained by interlacing
of Mercury, Per- threads on lines stretched vertically or
seus and some horizontally so as to form arrangements
other mythologi- of lines and tints. It should be remem-
cal figures repre- bered that in tapestry there is no canvas
sented as flying through the air. or other material to form a groundwork.
Talon. (Arch ) A moulding formed of T h e groundwork is formed by the
two arcs of circles, one convex, the coloured threads themselves. The
other concave: the first purpose of tapestry is to cover wall-
is placed at the upper spaces, and it should always be hung
part of the moulding, loosely and not stretched as though
the second at the lower held in a frame. [High Warp ; Low
part. If the convex and Warp.]
concave parts are re- Targe. (Her.) [Shield].
versed, it is called a reversed talon. Tarsia. An Italian word, which de-
Talus. A notes a curious art practised in Venice
sudden slope and some other Italian cities in the 15th
or inclination century. It was a kind of wood mosaic.
in the ground ; Landscapes and other scenes were
an obliquity in represented by inlaying woods of vari-
the surface of ous colours upon a foundation of walnut
walls. T h e talus of 45 degrees offers wood.
38S
TAS ART DICTIONARY. TEL
389
TEL ART DIC: TONARY. TEN
They are also called Atlantes (q.v.), and distance which exists between their
served the same purpose as the more columns. When the distance between
delicate and graceful caryatids. the columns is one and a half times the
Teleiconography. A method of re- diameter of the column, the temple is
producing drawings at a distance by called pyenostyle ; when the distance is
means of a series of currents transmitted two diameters it is called systyle; when
by telegraphic wires. the distance is two and a quarter
Tempera. (Paint.) T e m p e r a is a diameters the temple is called eustyle ;
method of painting, in which dry colours when the distance is three diameters,
are diluted in glue or size. diastyle; and araeostyle when the dis-
Template. (Arch.) A piece of sheet tance is more than three diameters,
iron cut out to reproduce a moulding Finally, it should be mentioned that as
reversed. When drawn along damp a rule ancient temples were hypaethral,
plaster it gives a moulding in relief. that is, open to the sky.
Tender. Light, delicate. Bright,
fresh colours are called tender.
Tendril. T h e tendril of the vine affords
a charming motive for decoration. It is
used in architecture and frequently found
as an ornament on vases and other works
390
TEN ART DICTIONARY. TER
together. Also a piece of iron or wood, most celebrated terra-cottas known are
cut so as to make a solid joint. the Tanagra figures (q.v.).
Tenon. (2.) (Sculp.) A piece of stone or T e r r a di Sienna. (Paint ) A kind of
marble which is not detached from a earth used both in oil and water-colour
statue, while it is being carved. It con painting. It is of a cold yellowish tone,
solidates weak places, which the blows when in its natural state, but when burnt
of the hammer upon it acquires a warm useful tone. [Burnt
the chisel might break. Sienna.]
Tenons are generally Terra Verde. (Paint.) A useful and
removed by a saw, permanent green pigment, which is found
when the statue is in the form of an earth in Cyprus and in
finally placed upon Italy. Among its ingredients are silica
its pedestal. But if and oxide of iron.
violent movement is Terrace. (Arch.) In the architecture
expressed in a statue of gardens a terrace is an elevated walk,
it is more prudent to retain the rising by steps
tenons for the support of the legs or above the
arms. ground in front
Terebinth. A liquid resinous sub of it, or a plot
stance. Essence of terebinth is a hydro- of ground laid
carbonate and is used to dissolve thick out in front of
matters, to clean paint brushes, and to a building, and
remove the varnish from plates, which raised upon a
have been etched. slope above the
Terminal figures. Terminal figures general level.
are busts placed upon stone pillars. T h e term also denotes a horizontal roof,
Sometimes the stone which forms a raised platform above a
pillars are terminated building. T h e upper storey of Roman
by figures down to the houses, which was called the solarium,
waist with or without presents a good example of a terrace
arms. Sometimes, of this sort. A wide space with a rail
though rarely, two ter ing running round it is also called a
minal figures are jux
taposed, the lower
mits
J— ^s. TSISW i^n °f ^ β t w o k e "
^r^wj^gpr S replaced by a
Λ
single pillar. Terminal
figures are frequently employed in
the decoration of parks and gardens,
while pillars surmounted by the upper
parts of tritons and naiads ornament
grottos and fountains.
Terra-cotta. (Sculp.) This material,
which is a baked clay, has always been
used by sculptors for their less important terrace, and sometimes the term is ap
works. Casts of statuettes are made in plied to a row of uniform villas. In this
clay, which is then baked. T h e process last instance the word appears to have
has the advantage of being simple and lost its true meaning.
inexpensive, and it is well adapted for Terre Plen. (Arch.) A French term
the reproduction of small works. T h e applied to a solid mass situated be-
391
TER ART DICTIONARY. THE
tween the two arches of a bridge. Our mystic letters, placed in a triangle,
which stand for the name of God
Tetrahedron. A geometrical term,
denoting a solid figure, bounded by four
plane sides.
Tetrastyle. (Arch.) A temple is said
to be tetrastyle when its façade is orna-
mented with four columns.
Texture. (Paint.) A term applied to
the arrangement of neighbouring tones,
cut will sufficiently explain its purpose or different shades of the same colour
and construction. in alternation or juxtaposition. T h e
Tertiary colours. (Paint.) Colours are secret of the vibration of the greens in
called tertiary when they are produced Constable's landscapes results from the
by the mixture of a primary and secon- fact that he gets his effect by a texture of
dary colour, one of the colours being in greens of different intensity. In another
excess of the others. They are olive, sense texture denotes the quality of the
citrine, and russet. surface of draperies, &c. T h u s we say
Tesselated pavements. (Arch.) In that an artist is skilled in rendering
Rome pavements were frequently deco- textures, when he clearly marks in his
rated with elaborate mosaics. Patterns pictures the varying qualities of the sur-
and pictures were made by an artistic faces which he represents.
arrangement of variously coloured stones. Thanatos. In Greek art of the best
These pavements are called tesselated, period, and later, Thanatos, or Death, is
and are to be found wherever the Romans personified by a winged youth or man.
pitched their camp. Fine specimens He was regarded as the brother of Hypnos,
exist in England and have from time to or Sleep, and was shorn of all his terrors.
time been unearthed with the villas of H e was usually represented as a boy,
which they formed part. T h e designs but sometimes (as, for instance, on a lecy-
are frequently decorative, but are some- thus in the British Museum) he is
times pictorial. At Pompeii was found bearded.
an admirable representation of the battle Theatre. (Arch.) A large building, in
of Issus, a copy of a celebrated picture which plays are presented. It is divided
by a lady artist named Helena. This, into two portions, the auditorium, re-
perhaps the most famous tesselated served for the spectators, and the stage,
pavement, is now in the Naples Museum. reserved for the actors. Ancient the aires
T h e best known examples in England were open to the sky. Modern theatres
are at Brading, in the Isle of Wight, and
Bury, in Sussex.
Tessera. (Arch.) A small pebble, or
piece of glass or earthenware, used in
the making of tesselated pavements.
Testoon. (Numis.) A French coin in
circulation in the reign of Louis XII.
T h e term is derived from tête, a head,
and was applied to the coin in question
because it bore the king's head upon it. are covered buildings, lighted by gas
From this was derived the English word or electricity. T h e construction of
tester, meaning a sixpence. the theatre has undergone very slight
Tetragram. A term denoting the modifications. T h e auditorium is with
392
THE ART DIC UONARY. THO
us as it was with the ancients a semi- in Seleucia, and she finally disappeared
circular series of seats, and the stage of in a rock, which opened behind her, when
to-day, though of course its mechanical she was being pursued by some " sons of
appliances are far more elaborate than Belial." In art she is represented as hold-
ing a palm ; sometimes lions crouch at
her feet.
Thermse. (Arch.) T h e word thevmce.
originally meant hot springs ; then it
denoted hot baths ; and finally it became
a general word among the Romans for a
collection of baths included within one
building. T h e thevmce comprised numer-
of old, keeps quite close to the ancient ous rooms, baths, and sweating rooms,
type. At the close of a scene or at the and frequently covered a large tract of
end of a play a curtain is let down, ground. [Baths.]
which shuts off the stage from the audi- Thin. (Paint.) A term applied to a too
torium. T h e background of a scene superficial treament, to a modelling
consists of a curtain, as shown in our which lacks consistence, to the render-
second cut, upon which the distances ing of a body in a relief by tones which
are depicted ; the middle distance and lack solidity, or to the application of
foreground , being indicated by wings. colour in too fine layers.
T h e framework within which the scene Thistle. (Her.) T h e thistle has always
been the emblem of Scotland. T h e order
of the Thistle, which is tfifMfr
supposed to be of very |g|C
ancient origin, was re- Â&KH r<i
vived by James V. of Scot- èÈ^fô|ir
land, and its statutes have ^^^^Π»·Λ»
been since several times modified by dif
ferent sovereigns of the United Kingdom.
Thole. (Arch.) T h e keystone of a cu
is set may be increased or diminished pola ; the cupola or dome itself.
in size by drawing up or letting down a Thomas, St. St. Thomas was that one
curtain fixed at the front of the stage. of the disciples of Jesus who, when Jesus
T h e effect thus produced may be esti- reappeared after the Crucifixion, de
mated from our third cut. manded some proof that he was the
Theatrical. Painted or sculptured Lord. This doubting on the part of
figures are termed theatrical when their Thomas has been the subject of many
attitude is unnatural or exaggerated. pictures. When St. Thomas is repre
For instance, a statue may be theatrical sented alone, his attribute is commonly
in pose ; the rendering of a scene is said a builder's square. This square alludes
to be theatrical when it lacks simplicity. to a curious legend, according to which
Thecla, St. St. Thecla was a maiden Thomas was sent to Gondofures, king of
of Anconium, and she became a Chris- the Indies, who wanted an architect to
tian at hearing the preaching of St. Paul, build him a palace. Thomas, while the
whom she is said to have followed on king was away, did not build his palace,
some of his journeys. She was cruelly but gave his money away in alms. On
persecuted on espousing the new faith, his return, the king threw Thomas in
but the lions, sent to devour her, spared prison, but on being told in a vision that
her life She spent many years in a desert Thomas by giving away his alms had
26 393
THR ART DICTIONARY. TIE
built him a palace in heaven, he at once with vine-branches or ivy and termi-
released him And in allusion to this nated by a pine-cone. It was
quaint tradition St. Thomas is repre- the attribute of Bacchus and
sented as carrying a square his followers, whether priests
T h r e e - q u a r t e r . (Paint.) A portrait is or priestesses. According to
said to be three quarter length when it some authorities the thyrsus
only shows the sitter as far as the hips ending in a javelin point re-
Technically the term is applied to por- presented the deceit of a com-
traits which measure thirty inches by batant, who sought to hide his
twenty-five. arms under flowing ribbons,
Through-stone. (Arch.) A stone which while the thyrsus surmounted
goes right through a wall, so that its ends
can be seen on either side.
by a pine-cone symbolised
peaceful life. T h e Egyptians,
L·
Throwing. (Pot.) T h e most primitive Phoenicians, Greeks, and even the Jews
method of fashioning pots is what is carried thyrsi in their religious cere-
known as throwing, that is by shaping monies.
the lump of wet clay with the hands Tiara. A headdress
as it revolves on the wheel before the worn by the kings of
potter. Persia and also by the
Thrust. (Arch.) T h e force exerted by Jews. Our cut shows
an arch or vault upon a pier. T h e pur- a royal tiara as it is
pose of the flying still worn in Persia.
buttress in Gothic T h e term tiara is also
//"W architecture is to applied to the triple
r ùw counteract the thrust crown worn by the Pope.
of the vaults of the Tibia. A wind in-
nave, and the skill of strument made of
the French architects reed, wood, or the shin-bone of an
of the 12th and 13th animal. T h e r e were in use among the
centuries consisted in giving a feeling ancients several kinds of tibiae, but they
of decoration to the masses of masonry
indispensable to the stability of a |fc=y 'rf SZ_
=o<!
building.
Thunder-bolt. T h e attribute of Zeus.
It assumes the form of a long kind of all had points of similarity, and were
spindle, from which proceed zigzag rays, provided with holes for the fingers.
pointed like ar- Tibicen. A Roman word denoting
row-heads. a player on the flute.
Thurible. A Tie-beam. (Arch.)
vessel contain- A term applied to
ing incense, the horizontal piece «*S|p
which is sus- of wood in a roof. *
pended by In Gothic buildings, in which the timber-
chains and
swung in the
processions of
the Catholic
Church.
Thyrsus. A
kind of staff or javelin, surrounded work of the roof is apparent- the tie-
394
TIE ART DICTIONARY. TIN
beams are decorated, at the ends set into they are triangular or in the shape of a
the walls, with carvings, which generally lozenge, hexagon, or octagon ; they are
take the forms of the heads of fantastic then capable of very varied combina-
animals. tions.
Tierce-point. (Arch.) The point of in- Tile, Gutter. A hollow tile placed at
tersection of two pointed arches. the angle formed by
Tige. (Arch.) In some systems of or- the intersection of
nament the term tige is applied to cylin- two roofs inclined
drical branches, from in opposite direc-
which foliage emerges. tions, and serving
Sometimes the tige, to carry off rain
slightly swelling at the water. Sometimes
end or spreading out plates of lead or zinc are used instead
into a bud, is deco- of tiles.
rated with flutings or striae ; sometimes —, Hanging. (Arch.) A tile rounded
its surface is unbroken. or cut to a sharp
Tight. (Paint.) A painting is said point, principally
to be tight, when it is handled without used to cover tur-
breadth or freedom, when the outlines rets or circular roofs.
are harshly denned and abruptly cut off In the Middle Ages
from the background. ridge tiles were large-
Tile. (Arch.) A square of burnt earth ly used to protect the
used in roofing houses. Tiles of convex beams of timber-
form are placed at the ridge of a roof ! built houses from the
and known as ridge-tiles (q.v.). Some j effects of rain water. '"'" *&'fi
tiles are varnished and coloured, and by They are still sonaetimeb put to this
means of these roofs may be decorated use.
Tilting lance. A lance with a broad,
blunt point, which was used in tourna-
395
TIN ART DIC 10NARY. TOM
cal lines ; vert or green, shown by across the body, then thrown over the
diagonal lines downwards from dexter
to sinister; pur pur e or purple, shown
by diagonal lines downwards from
sinister to dexter ; sable or black, shown
by horizontal vertical lines crossing
each other. T h e r e are two metals, or
and argent, or gold and silver. Argent
is represented by a perfectly plain shield ;
or by a plain field powdered with dots.
T h e r e are eight furs, descriptions of
which will be found under their re-
spective names : ermine, ermines, er-
minois ; peau ; vair, counter-vair ; potent,
counter-potent. T h e accompanying cut
shows a sable on an argent on an azure
shield.
Tint. (Paint.) A light shade ; also the
colour which results from the mixture
of several colours ; the application of
a particular colour with varying in-
tensity.
Tinted. (Paint.) Covered with a
tint, uniformly covered with a light left shoulder, until it reached the ground
shade. behind.
Tinting Tool. (Engrav.) A tool used Tomb. (Arch.) A monument erected
by engravers on copper as well as over the spot where the remains of a dead
on wood to cut lines of different man lie. Tombs vary in form accord-
ing to their style and epoch. Egyptian
and Roman tombs sometimes cover
a large extent of ground. In the Middle
Ages tombs often assumed the form
breadths. They vary in size according of small buildings; they were then
to the purpose for which they are re- either attached to the outside wall
quired of a church or placed in a chapel in
T i s s i e r o g r a p h y . A process of relief the interior. During the Renaissance,
engraving invented by Louis Tissier be- tombs were decorated with pilasters,
tween 1831 and 1839, by means of which columns or entablatures and equestrian
drawings with pen or pencil, or tracings statues, and were sometimes important
on autographic paper, may be printed constructions. In the 17th and 18th cen-
typographically. turies the tombs of illustrious men were
To-fall. (Arch.) (Lean-to.) conceived in an exquisite spirit of decora-
Toga. (Cost.) T h e characteristic dress tive art. In the beginning of the pre-
of the Roman citizen. It underwent sent century, the neo-Greek style pre-
many changes of form, and, not being a vailed. Tombs were then often pyra-
rigid garment, was capable of an infinite midal in shape, and were decorated with
variety of folds. But generally it was an bas-reliefs. They were generally in-
oblong piece of cloth, which enveloped artistic and almost always ridiculous.
the body. One end of it was then brought T h e revival of sculpture in the present
from behind under theright arm, passed 1 day will no doubt have the effect of im-
390
TOM ART DICTIONARY. TOR
proving the public taste in monuments solidly together a portion already con-
in honour of the dead. structed with a
Tombstone. A term applied to blocks portion still in
of stone, which course of con-
cover or stand at struction. T h e
the end of tombs. term Toothing
Tombstones in stone is applied
the Middle Ages to the stones
were sometimes left uneven or
decorated with toothed in or- ^ H ^ I ^
incised designs der to facilitate
of much rich- the binding of two portions of a wall
ness, and when built at different dates.
they represented Tooth O r n a m e n t . (Arch.) A system
persons of rank of ornament in the sii.**.
or distinction, form of a series of
the faces, hands, pointed teeth. It is
and armorial bearings were incrusted peculiar to the Ro-
with marble. manesque and early
Tonality. (Paint.) A collection of Pointed style.
tones subordinated to one dominant tone. Topaz. A precious stone of a yellow
A vigorous tonality. A picture painted tone. T h e burnt topaz is somewhat
in a violet tonality. darker.
Tone. (Paint.) T o n e is denned by Topia. (Paint.) A term applied by
some writers as the variations of a colour Vitruvius to a landscape of a purely
or tint, which are produced by its ad- decorative and conventional character,
mixture with white and black. It keeps many florid specimens of which have
the same hue and becomes lighter and been discovered at Pompeii.
darker. T h e term is also applied to the Topographic. A map or plan repre-
brilliance, the intensity of tint, the domi- senting the form of a country with all its
nant effect, observable in the colours details is termed topographic.
of a picture. T h u s we speak of warm Toque. T h e headdress
tones, cold tones, energetic tones, &c. worn in former times by
—, Local. A term applied to the general the Doge of Venice. T h e
tone covering a surface, the modelling ducal toque was richly
which is obtained by means of dark ornamented and had ear
touches, representing the shades, and pieces. In France the
light touches, indicating the light. term was applied to the black velvet
—, Neutral. A term applied to a scale cap, surmounted by eagles'
of broken tones, which, precisely on feathers, which the imperial
account of their neutrality, give an addi- noblesse wore before 1815.
tional value to other brighter tones or Torchère. An allegorical
colours. figure holding a torch, lamp,
Toned down. (Paint.) Colours are or candle. T h e name is
said to have toned down when with age given to vases of metal
they have become lower in tone and which have a handle and in
more sombre than they were when freshly the interior of which some
laid on. inflammable substance is
Toothing. (Arch ) T h e demolition of a put, which on combustion
piece of masonry so as to bind more I produces an intense flame. Also to the
397
TOR ART DICTIONARY. TOW
supports of delicate shape, upon which which have an elliptic profile or a profile
candelabra are placed. made up of two arcs of a circle, cutting
Toreuma. T h e name given by the one another at a right angle. In me-
ancients to bas-reliefs executed in metal diaeval buildings archivolts often con-
and chased. sist of one or more tori separated from
Toreutic. (Sculp.) Among the Greeks each other by small angular mould-
and Romans the term toreutic was ings.
applied to the chasing, carving, and Touch. (Paint.) T h e method in which
boring of hard substances, such as ivory, the colours are laid on the surface of the
stone or silver. canvas by the painter. We speak of
Torsade. A French term denoting a a light touch, a want of touch, or a
system of ornament in imitation of a square t o u c h ; it may be said that the
modelling is indicated by a few skilful
touches.
Tourelle. (Arch.) A tower of small
diameter runing up the height of a build-
ing, in which a circular staircase is gener-
twisted cable ; also a twisted fringe, ally placed. [Turret.]
used as a border for curtains, draperies, Tourmaline. A hard stone formed of a
&c. silicate with a base of limestone or mag-
Torso. T h a t portion of a human figure nesia, and containing boric acid and
which includes the shoulders, veins, and fluor. It is sometimes colourless, some-
breast. T h e term is times of a dark green or brown red, com-
generally applied to ing very near to black.
a statue deprived of Tournure. T h e characteristic as-
head and arms. T h e pect of a drawing ; grace or grandeur of
" torso of the Belve- line.
dere " which was dis- Tower. (Arch.) A building of great
covered at Rome at height in proportion to its breadth with a
the end of the 15th circular, polygonal, or square base. T h e
/ *?y ILriÉ^" c e n t u r y > a n d is now towers of castles serve as a donjon, to
I , A _ _ J ^ - preserved in the Mu- connect curtains and to protect the angle
seum of the Vatican,
and the " torso Farnese," now at Naples,
are two admirable fragments of ancient
sculpture
Torus. (Arch.) A moulding of convex
profile. This profile is generally a
398
TOW ART DICTIONARY. TRA
called towers, when their base is square, many objects of domestic use. The
clock case in our cut is a somewhat florid
399
TRA ART DICTIONARY. TRA
against a window pane, and to set over given the luminous point in relation
it a sheet of thin paper. T h e lines
of the drawing will then appear
through and if they are followed with
a pencil an exact reproduction will
be obtained. A similar, but more
convenient method is by the use of
transparent paper, called tracing
paper. T h e original drawing can then
be laid on the table or on a drawing-
board, and the lines followed with pen
or pencil on the tracing paper. Another
method is by the use of blackened
paper, which is laid with its black-
ened face downwards on a sheet of
white paper, the drawing being
placed above the blackened paper.
By lightly pressing with a blunted to this body.
steel or ivory style on the lines of Trajan's Column. (Arch.) A column set
the drawing, the black is transferred up in the Forum by the Emperor Tra-
to the white paper below, and the jan to celebrate his victory over the
drawing is reproduced. This method, Dacians. ^E.sthetically it is not a su-
though extremely easy, has the disadvan- premely beautiful object, but it is very
tage of spoiling the original drawing. valuable as a record of costume and
T h e method generally employed by en- weapons, being decorated with reliefs
gravers is as follows: A sheet of gelatine' representing the military life of the
paper is laid upon the drawing which can Romans. A cast of it may be seen at the
be seen through the gelatine; the en- South Kensington Museum.
graver follows the lines of the drawing Tranquil. A work, which is executed
with a sharp point which cuts into the in a quiet, harmonious tonality, may be
gelatine, so that the lines of the drawing j termed tranquil. T o produce a tran-
are represented by little canals in t h e quil effect all striking notes in a picture
gelatine paper. T h e whole sheet of must be softened, and its brilliant lights
gelatine is then dusted over with must be extinguished.
black powder which remains in the I Transemaux. This barbarous term
depressions when the plane surface was proposed by M. Salvetat, to denote
is wiped. T h e tracing thus prepared transparent faïence enamels, while he
is laid face downwards on the wood suggested opemaux to mean opaque
to be engraved, and either the -hand enamels.
or a burnisher passed over it, so as | Transept. (Arch.) T h e smaller arms
to transfer the lines of black powder
to the block. T h e engraver thus has
on his block an inverse of the ori-
ginal drawing, so that consequently the
print will face the same way as the
original.
Tracing of Shadows. A tracing the
purpose of which is to determine the
precise form of cast shadows and
the luminous parts of a body having | in the crossing of a Gothic church are
400
TRA ART DICTIONARY. TRE
called transepts, one of them being to Treat. (Paint.) T o treat, in painting, is
wards the south, the to express or represent in a certain way.
other towards the For instance, we speak of a subject
north. Some churches treated with spirit, a figure badly treated,
have a double set of a group happily treated.
transepts. Trefoil. (Arch.) A system of ornament
Transition. (Arch.) T h e term trans in vogue in the Gothic style, which con
ition is applied to an architectural style sisted of three foils "" ,,,,^.ι••>.. ~-
which possesses the characteristics of two or portions of a ~
styles, one of which is gradually giving circle. Some tre
way to the other. In English archi foils are simple,
tecture, for instance, there is a period of some are compo
transition, when the Norman style is giv site, that is to say,
ing way to the Early English, another other trefoils are inscribed within them.
when the Decorated style is taking the It also occurs as a charge in heraldry ;
place of the Early English, and a third in this case it may be
when the Perpendicular is supplanting described as the three-
the Decorated. leaved grass, having a
Transom. (Arch.) A horizontal bar or small stalk. Our cut
mullion in a window. Transoms are may be thus described:
sometimes quite plain, sometimes deco Argent, three trefoils,
rated with simple mouldings. gules, one over two.
Trap. (Arch.) An opening in a floor or Trellis. (Arch.) A garden decoration
ceiling, which is closed either by a grat consisting of vines or creepers, trailing
ing or by a shutter. over walls or vaults. In the 12th and
Trapezium. A quadrilateral figure, in
which two sides are parallel and all the
sides unequal. A solid figure is called a
trapezohedron, when each
\ / of its faces is a trapezium.
^— ' A particular form of this
solid figure has twenty-four faces present
ing the appearance of symmetrical
quadrilateral figures.
Travertino. (Arch.) A kind of limestone,
which was used by the Romans for build following centuries vaults were built in
ing purposes and highly prized by them. gardens and covered with trellis-work.
It is a very hard stone, is white when From the 16th century onwards the
freshly cut, and tones down to a yellow principle of trellis was applied to archi
with age and exposure. It was quarried tecture, and at that period porticoes,
by the ancient Romans a t T i b u r , whence
it was called Lapis Tiburtinus, Traver
tino being its modern name.
Tread. (Arch.) T h e horizontal part of
a step, upon which the foot rests.
Treasury. (Arch.) A small isolated
building, chapel, or sacristy, belonging
to a Gothic church, in which relics and covered with richly decorated lattice
sacred vessels made of the precious work, to which the term trellis was
metals were kept. applied, were quite common.
401
TRE ART DICTIONARY. TRI
Tresse. (Arch.) A system of ornament, to the galleries running round the lan
either flat or convex. It consists of tern, which terminates a dome. Gene
bandelettes (q.v.) rally any raised place or rostrum, from
intertwined. In which speeches are made, may be de
the romanesque scribed as a tribune.
style tori (q.v.) are Tricky. A work of art is said to be
frequently decorated with tresses. tricky when its effect is produced not
Tressure. (Her.) A French heraldic by the means proper to the art itself,
term, denoting a narrow orle (q.v.). T h e but by ficelle (q.v ) or sleight of hand.
tressure is frequently met with in coats- Triclinium. (Arch.) T h e dining-room
of-arms, and may be either simple or of a Roman house. It was so-called
double, fleuronnée or fleurdelisée. from the fact that it contained three
Triangle. A geometrical figure having seats arranged round a table, there being
three sides and three angles. A right- room on each seat for three persons to
angled triangle is a triangle which has recline.
a right angle ; in an equilateral triangle Trident. A three-pronged fork. Nep
tune is always represented
[Ν, Α Δ Κ
the three sides and the three angles are
armed with a trident. It is
also the attribute of the
gods of the sea, such as
equal ; an isosceles triangle has two Tritons, Nereids, & c , who
equal sides ; and a scalene triangle has are represented in mytho
three unequal sides. logical scenes or as deco
Triangular. T h a t which has three rative groups on fountains, &c
sides or is in the form of a triangle. Triforium. (Arch.) A gallery immedi
Tribune. (Arch.) A semicircular seat ately above the nave in a basilica or
always found in Roman basilicse ; in all church. Some
styles of architecture, a raised gallery, times the tri
forium occu
pies the whole
breadth of the
aisles ; some
times it is only
a narrow gal
lery, set against
the roof of the
nave. T h e pur
supported by columns or arches; a pose of this vaulted gallery is to serve
passage made in the thickness of the wall as a flying buttress to counterbalance
in Gothic build the thrust of the central vault.
ings and bounded Triglyph. (Arch ) A
by pierced balus system of ornament,
trades. T h e term found in the frieze of
is also applied the Doric order. It
sometimes to the consists of a project
platform in a ing piece pierced by
rood - loft, from three narrow flutings
which discourses or glyphs. T h e frieze
were delivered. of the Doric style
Some authors give the name tribune is made up of alternate metopes and
402
TRI ART DICTIONARY. TRO
triglyphs, and in Greek temples the schools painted a very large number of
angle of the entablature is strengthened
by two triglyphs, one on each face. In
Roman Doric buildings, however, the
angles are formed by two demi-metopes,
and the triglyphs are always placed at
the axis of the column.
Trilith. [Lichaven.]
Trilobé. (Arch.) A system of orna-
ment consisting of three cusps or lobes
It is also called trefoil. It was con-
stantly employed in
buildings of the
Gothic style from
403
TRO ART DICTIONARY. T-SQ
of a trophy of the chase. T h e practice | Pedestals are frequently cut into the
of setting up a trophy in commemoration shape of truncated ^-—%^
of a victory dates from very early times. ! pyramids, their up- /^S$[8?f*V
After a battle the ancients set up per part present- / fflMW^
trophies, which consisted of the arms ing a smooth hori- / ||M\i\l^P^^
and spoils taken from the vanquished. ι zontal surface. ^^J^Jn^^^^
In modern times trophies, consisting of Trunk-light. (Arch.) [Abat-jour]
flags, &c, are put up in churches. I Truqueur. A truqueur is an artist who
Trowel. A trowel consists of a tri- j fraudulently manufactures pictures,
angle with a rounded end fitted on to a j drawings, or the autographs of famous
handle. It is used by masons to spread men, and attempts to entrap amateurs
the plaster between the courses. A into buying his forgeries as if they
small trowel is used to mark the joints were genuine. T h e art of trucage has
^ ± between the stones or made immense strides in our own days.
jjËtâ&P bricks in a piece of T h e truqueur visits Greece to collect
^^yfj ^ masonry. Painters use scraps of Parian marble, which he
a
s\^0^ palette knife shaped converts into bas-reliefs of the 5th
t-"""^ like a trowel to spread century, and studies the arts of all
the ground over a canvas, and to put in nations and ages with an intelligence
those parts of a picture, which by their worthy of better things than his fraudu
rough execution are intended to present lent employment.
a contrast to the more carefully finished Truss. (Arch.) A term applied to the
parts. pieces of timber or iron which support
True. This piece of French artistic the ridge of a roof, .
slang is almost synonomous with ficelle through the interme- Jjjk
(q.v.), but it refers rather to the method diation of longitu- JJLI%
than to the means of execution. It dinal pieces called >|Ρ1Η^
does not differ greatly from the English purlins, placed par- fffl i 1|λ
word, " knack." An artist is said to have allei to one another. ml 1 1|V
the " true," when h e possesses a special T h e truss of a man- JSjË i m,
knowledge of the details of his art, and sard roof assumes a ^ 4 g a s & z a s ^ ^
can grasp at once the method in which particular form. It ΒΓ * Λ* ji
a thing is to be done. may best be de
Truculent. Brutal and lively at the scribed as a truss of the usual shape,
same time. Thus bright fresh colours, inscribed in a triangle, as low as possible,
which do not lack harmony, but are
laid on with a vigorous hand, are termed
truculent.
Truite. (Pot.) A term used by Jac-
quemart and other French writers on
the Ceramic art to denote a fine the whole of which would be raised by
crackle which is found on some pieces means of strut beams.
of Chinese porcelain. T h e name is T-square. A T-square consists of a
given to these pieces of porcelain be- flat rule placed at right angles to a piece
cause their surface resembles the scales of wood which is grooved, so that it
of a trout. may be applied to the edge of a drawing
Truncated. Any solid figure is said to board. If this part of the square be
be truncated when its upper part is cut moved along with the left hand, the flat
off parallel to its base. Oar cut gives rule allows the draughtsman to draw
a n example of a truncated pyramid. horizontal lines, which are absolutely
404
TUB ART DICTIONARY. TUR
parallel, provided that the edge of the cone or hillock. In the remotest ages of
drawing-board is perfectly straight. T h e antiquity, tumuli were raised as tombs
branches of some T-squares are move-
able, so that oblique parallels may be
drawn. Perpendicular lines may be
405
TUS ART DICTIONARY. ULT
staircase or small retreat, often elabo- tympana of arches are sometimes deco-
rately decorated. Sometimes they rated with bas-reliefs, paintings, or
spring from the surface of the ground,
sometimes they are corbelled out and
project beyond the wall of a building.
Tuscan. (Arch.) An order of archi-
tecture of the Etruscan style, called also
the Rustic order. It was employed on
the ground floor of some Roman build- mosaics. It also denotes the field
ings, such as the the- bounded by the haunches of the arch
atre of Marcellus. and the springing-line of the arch above
This order, which is the doorways of Gothic churches.
described by Vitru- Tynes. (Her.) T h e name given by
vius, is nothing but a heralds to the small branches that pro-
degenerate repro- ject from the antlers of
duction of the Greek a stag. It is not gene-
É Doric order.
Tuscan order, ac-
cording to Vignole,
The rally necessary to specify
the number of tynes.
T h e full antlers attached
differs only from the Doric order in to a small portion of the
being less elegant, as far as its propor- skull, as here shown, are sometimes
tions are concerned. borne as a separate charge.
Tusses. (Arch.) Stones placed one Type. A term applied in art to a
above the other, so as to form alternate figure of a precise and strongly marked
projections and hol- character. T h u s we speak of a type of a
lows. Their pur- beautiful woman, a type of a beggar. In
pose is to bind to- numismatics an historical or symbolic
gether the old and figure upon a coin is called a type.
new portions of a Typical. T h a t which has the character
wall which has been or distinguishing marks of a type.
extended. T h e term Typography. T h e art of printing by
is also applied to means of characters or types in relief.
the projecting stones Relief engravings, whether in zinc, cop-
in a belting-course, per, or wood, may be printed by the typo-
placed at the inside graphic process at the same time as
angle of two walls, in order to increase letterpress set up in moveable type.
their cohesion. Typolithography. T h e art of printing
Tympanum. (Arch.) T h e triangular on the same page lithograph drawings
space included between the cornice and and printer's type.
the sloping sides of a ^
pediment. T h e term
is also applied to the
triangle or kind of es-
u
Ultramarine. A pigment of a beautiful
azure blue, which is valuable for its in-
tensity. It was formerly obtained by the
calcination of lapis lazuli, but it is now-
coinson circumscribed by an archivolt, adays artificially prepared by mixing
an entablature and a pilaster. These kaolin, sodium, and sulphur.
406
UMB ART DICTIONARY. UNG
Umber. (Paint.) Umber is found in a and was employed until the 9th century
native state, and is a mixture of iron andand as late as the 12th century for the
manganese. T h e pigment derived from
it is of an olive brown colour when in a
raw state, but it acquires a reddish tint
when it is burnt. Umbers, both raw
and burnt, are useful pigments and per-
manent alike in oil and water.
SHSN
books of the Church. I n the 9th century
Umbo. T h e point or cone, which pro- uncials were sometimes replaced by
jects from the centre of a shield. In demi-uncials, and in the 10th century,
ancient times umbo some- manuscripts being executed in small
times denoted the whole
shield. Round Italian shields
of the time of the Renais
sance, which were only dis-
played on parade, were de-
corated with umbos in the letters, a much less tedious process,
form of Medusa's head. In uncials were no longer employed except
oriental shields round the in titles and the headings of chapters.
central umbo, several smaller ones are Undé. (Her,) [Wavy.]
found of engraved and damascened Undercroft. A chapel or chamber
steel. below a church. T h e undercroft is
Umbrella. A white linen umbrella is frequently the most ancient part of a
one of the indispensable accessories of church, as it is, for instance, at Ripon
artists who make studies in the open Cathedral.
air. T h e umbrella generally has a long Undulating Moulding. An ornament
handle, with an iron point at the end consisting of curves alternately concave
407
UNH ART DIC ^IONARY. VAL
and not often provided with a foot, as mented with godroons (q.v.) and mounted
is one of those engraved here. on a foot, the outline of which recalls an
Unhewn. Blocks of stone, rough and Attic base placed on a square plinth.
rugged as they were when brought from Ursula, St. According to the very
the quarry, are said to be unhewn. curious legend St. Ursula was a princess
Unicorn. A fabulous animal, with a of Brittany, who in the company of eleven
horn in its brow, which figures as a thousand virgins visited the shrines of
charge in heraldry the saints at Rome. On their return
^ ^ ^ and sometimes as they were all cruelly put to death at
<^*<j?V an architectural Cologne by the Huns, who were at that
y Jb / ^ ornament. In he- time besieging that town. T h e events
^ 3 ^ ^ - - T O W raldry it is gene- of her life have been treated by many
** ^ ^ c ? A ''WWt> r a ^ v represented artists and she is very often represented
ί^<2ΐ· passant ; it is said as surrounded with young girls, whom
xfjirjf to be salient, when she shelters beneath her cloak. She is
it stands on its regarded as the patroness of schoolgirls.
hind legs ; and in defence, when its horn Her own attributes are the crown, the
is lowered in a horizontal position. pilgrim's staff, and the arrow, with which
Unity. A work of art is said to possess she was slain. T h e most famous pic
unity when all its parts are so arranged tures dealing with events in the life of
that they produce an harmonious effect, St. Ursula are by Hans Memling, and are
and when the eye of the spectator is not on the shrine at Bruges which contains
irritated by meaningless detail. her relics.
Urceolate. (Arch.) A term applied to
capitals which are narrow at the bottom
and swell towards the middle, and be
come still larger at the top.
Urceus. A name given to ancient
v.
Vair. (Her.) One of the furs employed
vases which have handles. in heraldry. It consists of a series of
Urn. A peculiar form of ancient vase small bells, upright and inverted, ar
with a narrow neck and swelling body ranged in rows. All the
and generally of large dimensions. T h e r e upright bells are of one g | Ξ ^ g
are cinerary urns, in which the ashes of tincture and so arranged f L J Ì B L J l l
the dead were placed, as well as Bacchic that their bases rest on f^ff^ /^Γ|
urns or craters. T h e body and handles the bases of the inverted I B I jggj
of the urn were generally decorated with bells which are all of an- * ^ Ρ % ^ = ^
other tincture, whereas in τ**·
counter-vair (q.v.) inverted and upright
bells of the same tincture are placed
base to base.
.Valley. (Arch.) T h e angle formed by
408
VAN ART Dh TIONARY. VAS
importance of any given tint or local hue ordinaries ; in the latter case it is said
in any given condition of distance and to be a varied field. Thus, for example,
atmosphere. Thus a tint of orange be- if a shield were divided into a number of
comes modified in the value of the orange partitions by a succession of gales, the
as it recedes into bluish, greyish, or varied field known as paly would be
yellowish atmosphere, and the value of formed, and the shield would be blazoned
the local colour of flesh is always af- (say) paly of six argent and azure.
fected by change, as the surface is acted Other frequently recurring examples of
upon by the light at different angles. varied fields are : bendy, harry, barry-
T o put it briefly, value is the modifica- bendy, gyronny, lozengy, compony, fretty
tion of colours by the action of light, air, (q.v.).
and distance. Varnish. A resinous substance dis-
Vandalism. T h e destruction or ruin solved in alcohol, used by painters. T h e
of works of art. T h e term was originally quality of the varnish and the moment
applied to the destruction of works of at which it is put on demand the utmost
art by the Vandals, a German people care on the part of the painter who is
who laid waste Rome, Gaul, Spain, and anxious for his work to be lasting. Be-
Africa in the first centuries of the Chris- fore varnishing a picture, the artist should
tian era. T h e expression is now used wait for it to be perfectly dry. How-
generally to denote any action whereby ever, examples are often quoted of pic-
art suffers. For instance the useless or tures being successfully varnished when
clumsy restoration of a picture is an act they are only just finished, and when
of vandalism. the paint upon them is still wet. In this
Vanishing point. T h e vanishing point case the canvas is placed in a horizontal
in a picture is that point in which all the position and a liquid varnish is passed
over it. This method of varnishing,
though in some cases it has preserved
pictures, is dangerous and not to be
recommended.
—, Lac. A solution of gum lac in
alcohol, used as a ground and also to
dilute the oil colours in the process of
gilding.
—, Picture. A varnish consisting
of mastic, camphor, and Venetian
terebinth. A solution of camphor and
copal is also used as a varnish for
pictures.
imaginary lines in the perspective con- Varnishingday. A day appointed some
verge. few days previous to the opening of an ex-
Vapourous. (Paint.) Enveloped in hibition of pictures at^the Academy, or
vapour, cloudy, undecided. T h u s we elsewhere, on which artists are admitted
speak of vapourous tones, or say that a to varnish their pictures. This varnish-
distance is vapourous when it seems ing is sometimes quite necessary, as pic-
bathed in atmospheric vapour. tures often leave the studio too fresh to
Varied fields. (Her.) T h e field of an be touched with varnish.
escutcheon may be either of one tinc- Vase. A vessel, generally of earthen-
ture, as gules, argent, & c , or it may be ware, used among the ancients for hold-
covered with a pattern by means of a ing liquids, and for both domestic and
repetition upon its surface of one of the sacrificial purposes. T h e various forms
27 409
VAU ART DICTIONARY. VAU
assumed by vases among the Greeks have Apses and the east ends of chapels
been described under their various head are sometimes termin
ings in the " Dictionary " Ornamental ated by demi-cupola
vases of various vaults.
materials, and of Vault, Groined.
all sorts and sizes, [Groined Vault.]
— in Calotte. A
*w*t
vault resembling a
spherical calotte. T h e majority of
cupolas, for instance, may be described
as vaults in calotte.
These vaults are also
called spherical vaults.
When the outline of
the vault is an ellipse,
it is called a spheroid vault.
{lliiyiiiMii/imm;'»»- —, Pointed. A vault the curve of
which is bounded
are used for architectural and deco by pointed arches.
rative purposes. For instance, large Some authors
vases of marble or bronze, either carved give the name of
or chased, are used in the decora pointed vault to
tion of gardens. On the summit of a vaults composed
building, on the ends of a pediment, or of transverse ribs,
at the angle of a balustrade, a decora wall ribs, and pendentives.
tive vase of stone is frequently found. —, Rampant. A vault of which the
These decorative vases were particularly two springing points are not in the same
popular at the Renaissance and in the horizontal line. «,^'^^^τ?*^
17th and 18th centuries. In some To strengthen - ^ ^ \ J ~ I \ K
buildings they are found of consider the steps in a "J^X. M
able dimensions and are surrounded staircase ram
with groups of children, and some pant arches
times they are crowned with flames are sometimes
and smoke. built, resting upon piers of unequal
Vault. (Arch.) An arrangement of height.
stones or bricks describing an arc of —, Semicircular. A vault the curve,
a circle of varying breadth and thick of which is determined by a semi
ness. circle.
—, Annular. A vault built upon a cir —, Skew. A vault the lateral surfaces
cular or elliptic plan. In either case the of which are not at right angles to its
annular vault has for its point of support piers. This vault is rarely employed in
a detached pier and a vertical, circular, buildings, but is frequently seen in via
or elliptic face. ducts. When two
—, Barrel. [Barrel-vault.] roadways, situated
—, Conical. A vault of a circular at different levels do
plan, which is formed by a right-angled not meet at a right
triangle turning round one of the sides angle, to establish
of the right angle as its axis. communication be
—, Demi-cupola. A vault the arched tween the two portions of the road
portion of which is a quarter of a sphere. placed at the greatest height, a skew
410
VAU ART DIC TIONARY. VER
411
VER ART DICTIONARY. VES
verandahs take the form of greenhouses Vernier. An instrument invented in
or glazed vestibules and are almost the 17th century by Vernier, the geome-
always built of iron. trician. It consists of a small rule, so
Verde Antico. A patina of bronze graduated as to allow the smallest di-
of a beautiful clear green tone found mensions to be measured. It is gene-
on ancient bronzes. It is obtained rally about nine millimetres in length,
artificially by applying a mixture of each millimetre being divided into ten
ammoniac vinegar and sea salt with a equal parts. T h u s fractions of a tenth
hair brush. of a millimetre may be measured.
Verditer. (Paint.) A colour used Veronica, St. According to an old
chiefly in distemper. It is found in a legend when Jesus was on the way to the
soft stone in copper mines, and then cross a woman wiped His face with a
reduced to a powder and mixed with napkin, upon which there appeared at
water. Some verditers, used in the once an image of the face. This image was
decoration of theatres, yield bright called the vera icon, or true image, and
colours, while others are grey and the woman to whose napkin it was trans-
dull. ferred has been known as St. Veronica.
—, Green. A pigment used in dis- One tradition says that St. Veronica was
temper painting. It is obtained from Berenice, the niece of Herod. Pic-
a kind of copper ochre or rust, but it tures of St. Veronica holding up the
has the disadvantage of turning to a handkerchief, upon which is an image of
brown. the face of Jesus, are common. In St.
Verdure. A French term applied to Peter's at Rome is an old picture of
pieces of tapestry or other hangings re- Christ on linen, which is regarded as the
presenting landscapes, in which green real napkin of St. Veronica.
is the dominant tone both in the central Vert. (Her.) T h e heraldic colour
subjects and in the systems of ornament green shown on a shield by diagonal
which make up the border. lines from dexter to sinister.
Verge-board. [Barge-board.] Vertical. T h a t which is perpendicular
Vermilion. (Paint.) A bright red pig- to the horizon is said to be vertical.
ment. It is a sulphide of mercury, and Vesica Piscis. A term applied to the
is found in a natural state or is manu- elliptical au-
factured artificially. It is a useful pig- reole, w i t h i n
ment, being permanent and having a which Christ
good body. It loses its too brilliant is sometimes
tone with time and becomes a kind of represented.
brown. I t s li t e r a l
—, Chinese. A pigment used in water- meaning is the
colour drawing. It is of a striking red bladder of a
colour and should be laid on with suffi- fish, a n d i t
cient lightness to allow the paper to be doubtless was
seen through it. When the vermilion given this
is laid on too thickly, or is not sufficiently name on ac-
diluted, it looks dull and opaque. count of the
Vermiculated. (Arch.) A wall or other t r a d it i o n a l
surface is said to be symbolism in
vermiculated when it acco rda nee
is covered with lines, with which
>3V like worms, describing Christ is
irregular and sinuous curves. often represented b y a fish.
412
VES ART DIC TIONARY. VIG
Vestibule, (xlrch.) A covered space globe and holding a palm branch in her
at the entrance of a building or in front hand.
of a staircase or room. Vidrecome. A large drinking glass
—, Tetrastyle. A vestibule decorated used in Germany. This ^ ^ . .^^
with four detached columns. German glass is gene- [S3B
Viaduct. (Arch.) A bridge built upon rally cylindrical in form P*-^"^S|
piles, at some distance from one another and often of considerable fjjj'· ^vffl
capacity. Vidrecomes {> Jfi+\
are frequently decorated % J**//k >${
with paintings in enamel, fa .MEJ Μ *
generally representing A^SMP^»
heraldic devices. ^^^j^st^
View. A picture or drawing repre
connected with iron girders or arch senting a town or site. A view of
ways. Viaducts are built across a river London; a view of the Roman Cam
or a depression in the ground. pagna.
Vibrating. (Paint.) A term applied —, Dioramic. A picture or view
in pictures to a strongly marked, nervous, e x e c u t e d t o b e exhibited as a
living effect of colour, obtained by skil diorama.
ful contrasts. —, Panoramic. A view presenting
Vice. A vice such as is seen in our the appearance of a panorama. Pano
cut is used by cabinet-makers ramic views are nowadays drawings
|m to hold fast pieces of wood, taken from one and the same point of
^Jyf which have been joined with view. Sometimes in making conven
\~4&κβ size, as well as in many tional panoramic views, the point of
|| H other operations of their view is supposed to be shifted parallel
| craft. Etchers make use of to itself. Many panoramic views,
I U a small vice with a wooden drawn, engraved, or photographed, are
? ·| handle to hold their plates executed on this principle, and the
M| with when they are heating skill in their production consists in
M * - T | them before laying the etch- hiding the points of junction as skilfully
f \/W *n£ S r o u n d · as possible.
[ WT Victor, St. In Christian Vignette. T h e term vignette, which
[ [H art representations of two means nothing more than a little vine,
^* martyrs, both bearing the originally denoted an ornament used in
n a m e of St. Victor, are found. One Gothic architecture. It was also applied
of them is St. Victor of Marseilles, who to the initial letters in manuscripts,
was put to death by being crushed by a which were decorated with the tendrils
millstone, which is therefore his attri of a vine. T h e meaning of the word
bute, in the persecution of Diocletian. was then extended to cuts, forming head
St. Victor of Milan suffered in the same and tail pieces in a book, whether they
persecution, but the manner of his were decorative or illustrative. Here
death was different. H e is said to have the meaning of the word was quite lost,
been put into an oven, which is one and now vignette denotes any cut or
of his attributes. H e is frequently engraving illustrating a book, which is
represented standing near a broken not enclosed by rigid lines, but is p u t in
altar. the text.
Victory. A deity or allegorical figure Vigorous. A work of art is said to be
represented by artists as a girl winged, vigorous when it is largely conceived
crowned with laurel, placed upon a and boldly treated. In painting, the
413
VIN ART DICTIONARY. VOL
414
VOL iRT DICTIONARY. VOU
meeting at one of their extremities, and term is still applied to the exits of large
described from radii, which become public buildings.
small and smaller. Votive Tablets. In all ages and in all
Generally the cen- countries small tablets have been offered
tres of these por-
tions of circles are
placed at the four
angles of a square,
itself inscribed in
a circle, which is termed the eye of the
volute. A volute is termed angular when
the centre of its thickness
corresponds with the dia-
gonal of an Ionic, Corin-
thian, or composite capital,
which, in this case, is deco-
rated with scrolls on each
of its four faces. Consoles, to the Deity on recovery from sickness.
seen in profile, are some- They are generally adorned with repre-
times d e c o r a t e d w i t h sentations of the part affected. Of our two
volutes. They generally cuts, the former is an ancient Egyptian
project considerably, and tablet evidently offered by one who had
the leaves of the acanthus, or some
other system of ornament, are applied
to the face of the con-
sole. Generally, the
scroll at the top of the
volute is of larger di-
mensions t h a n the
scroll at the bottom.
Volutes are sometimes decorated with
foliage or rinceaux. Volutes of this kind
are particularly common in iron work.
T h e contour of the volute is executed in
forged iron, while foliage of sheet iron, suffered from a disease of the ear ; the
cut out, hammered, or repoussée, is second is a Greek tablet offered by one
added to the volute. Tertia. Similar customs prevail in Italy
Volute, Horn of. (Arch.) An ornament and elsewhere to-day.
_^— _ used in some Voussoir. (Arch.) A stone cut in the
Corinthian ca- shape of a wedge,
pitals, w h i c h which, in juxtaposi-
a p p a r e n t l y tion with other stones
springs f r o m of similar shape,
t h e scroll of forms an archway or
the volutes, and projects abruptly from platband. T h e upper
the plane of this scroll. and lower sides of a
Vomitoria. (Arch.) A term applied to voussoir are termed
the doors, openings, and vast passages the extrados and in-
which gave access to the different por- trados respectively.
tions of ancient amphitheatres. T h e Voussoirs are always of an unequal num-
415
ART DICTIONARY. WAI
νου
ber, and the centre one is called the Vulning. (Her.) A term applied to a n
keystone. Some voussoirs are so cut animal which is repre
sented on a shield as
wounding itself. T h e cor
rect description of our
cut is, argent, a pelican's
head, erased, vulning.
Vyse. (Arch.) A term applied to stair
cases so plan-*
ned that their
steps, whether
lTU'llllllUrnir -a monolithic or
not, have a new
that their upper part is prolonged el (q.v.) for their
to fit in with a horizontal course of point of depar
stones. ture. When the
Voussure. (Arch T h e curve of an steps are mono
arch ; the thick lithic, each one
ness of the in is supported by the one below it, and
trados of an arch. this arrangement is apparent from under
In buildings of the neath the stair
Gothic style doors case. In another
are crowned with kind of vyse the
voussures, which masonry is so
consist of a num a r r a n g e d that
ber of rows of the shell of the
niches, occupied by statuettes placed in staircase has the
retreat, the one below the other. appearance of a "* Λ
* ¥-<Φ**™ΦΖΑ
Vrilles. A system of ornament, which vault. These staircases are built upon
suggests the spiral form a square, rectangular, or circular plan,
of vine tendrils. At certain and offer, especially in the first two
epochs, especially in iron cases, combinations of pointed or ram
work, scrolls are termi pant vaults, the adjustment of which is
nated with vrilles. The a matter of the utmost difficulty and
term is also applied to requires a mason of the greatest skill.
the small volutes of
Corinthian capitals, the
scroll of which projects, w.
T h e distinguishing characteristic of Wainscot. (Arch.) A plane or covered
e v e r y f o r m of surface, cover
vrille is that it has ing a wall
the form of a cork or p a r t i t i o n ,
screw or spiral, sometimes de
which gets smaller corated with
and smaller, and mould ings,
finally terminates sometimes not.
in a sharp point. It is generally
Vulned. (Her.) A term applied in forme d of
heraldry to a creature that is wounded panels, and
not by itself, but by another. though rarely found in modern buildings,
416
WAL ART DICTIONARY. WAS
was a favourite form of decoration in a wall, and is united by a tie to the
old houses, and gave an opportunity for
a good deal of carved ornament.
W a l i n g . (Arch.) A method of joining,
in which the
pieces of wood
are held to-
gether by an
iron bolt.
Pieces of wood
thus j o i n e d horizontal timbers. Its purpose is to
are often counteract the thrust.
halved. W a r m . (Paint.) A colour is said to be
Walling-wax. (Engrav.) Etchers warm when tones of red or yellow pre-
sometimes instead of putting their plates dominate in it and produce an effect of
in a bath, build up a wall of wax round vigour and transparency. Blues and
the edge of the plate itself. T h e wax is violets, on the other hand, are always
very cold colours, though they afford an
opportunity for delicacy and distinction
of tone. Water-colour drawings boldly
coloured with burnt sienna or carmine
are warm in tone. Generally speaking, a
picture is said to be warm in tone when
its scheme of colour is vivid and brilliant.
W a r p . Panels, tables, and furniture,
made of wood, which is not absolutely
dry, have a tendency to lose their shape
or to warp, as it is called. T h e same
fixed in its place while still warm, and happens to picture frames if they are of
then left to cool before the acid is poured unseasoned wood.
in. By the Wash. T o wash is to spread flat
spout, which, tints of water-colour or Indian ink
as our cut evenly upon the surface of a piece of
^«shows, is paper. Architectural and mechanical
left, the acid designs, for instance, are frequently
may be poured off when it is done washed drawings. In washed drawings
with. the object is to lay a uniform tint with
Wall painting. [Mural decoration.] perfect regularity upon the paper,
—, Partition. (Arch.) A light wall, while in water-colour, properly so-called,
generally made of and artistic drawing generally, the tints
lath and plaster, are laid on freely without any attempt to
which divides attain perfect evenness. T h e r e are, how-
the interior of ever, in existence many washed drawings,
a b u i l d i n g up which are the work of real artists, and as
i n t o rooms or late as the last century some artists used
apartments. washes to indicate their arrangement of
— Tie. (Arch.) A piece of iron light and shade. Nowadays washes are
generally in the form of an S, but some- only used for plans and machine-draw-
times in the form of a scroll or cipher. ings. Even architectural façades are now
It is set vertically against the surface of often executed in water-colour.
417
WAT ART DIC rIONARY. WAY
419
WIN ART DICTIONARY. WOO
(q.v.) and the ribs in the upper part of nation which is rarely seen 'in modern
the windows are sometimes carried buildings.
beyond the window-head, as indicated "Windscreen. (Arch.) A term applied
in our fourth cut. In the 17th and 18th in Gothic
centuries, the subdivision by mullions architecture .
disappears, and the window frames are to small, cir
formed of pilasters and columns. cular screens
Window, Attic. A window which con of wood,
tracts towards the top, and the uprights either pierc
of which, instead of being vertical, are ed or con
inclined obliquely to one another. sisting of car
—, Casement. A window, the space of ved panels,
which is divided into four parts by two general 1 y ,
,..· '_.. ,.. uprights crossing one placed in the
* « = '· another a t right angles. a n g l e of a
Ί Η Ι Ι ^ Β ! * ' In some buildings, we room or surrounding projecting stair
meet with windows cases. In some Gothic buildings wind
which, instead of having screens of stone are found.
one cross-piece, have Wing. (Arch.) T h e portions of a
two cross-pieces, and are building which are added to the main
so divided into six com body of a building, being constructed in
partments by a vertical mullion and
two horizontal pieces placed one above
the other in the upper part of the
window.
—, Dormant. A window which does
not open.
—, Italian. A window in three arched
compartments supported by colonnettes.
—, Mezzanine. A window which ad
mits light into an the same line as the main block or re
entresol. T h e dis turned from it. In Greek and Roman
BWJBÌ tinctive feature is
that its breadth
temples the lateral porticoes were
termed wings (πτφα or alee).
j__jl JT is always greater
Wire-brush. A brush generally made
than its height. of brass wire, with which gilders spread
—, Rampant. window, the sill of their amalgam of gold and
which is not hori- mercury, and with which they
zontal, or of which clean gold and silver work.
the frame is not When the gold is being laid
placed in a vertical with the wire upon the surface
line. In the former of any object, it is of the ut
case the rampant most importance that this sur
wm face should be kept damp during the
f ΊΒΜ Ι τ * d o w is fixed, and
420
WOO ART DIC.:TIONARY. YEL
421
YEL ART DIC VIONARY. ZOT
have all a base of lead and so easily Architectural mouldings are sometimes
tarnish and turn black. decorated with zigzags.
Yellow, Chrome. Chrome yellow, as Zinc. A metal of a bluish-white
used in water-colour drawing, is a very colour, upon which engravings in relief,
brilliant colour, but somewhat dusty. which may be printed by the ordinary
There is also an orange chrome, i.e , a typographic processes, as well as line
yellow chrome with a slight admixture engravings, are produced by chemical
of red. T h e chrome yellow used in oil- processes. In the case of line engrav-
painting is nothing more or less than ings on zinc the plate is covered with
chromate of lead. a ground and bitten with aquafortis in
—, I n d i a n . A colour, used in water- the ordinary way, but the zinc soon
colour, of a very striking tone. wears out and only a limited number of
—, Naples. A yellow pigment, with proofs may be struck from it. Nor does
a slight tendency towards green, which zinc lend itself to the expression of
consists of massicot or oxide of lead. fine delicate lines ; but to compensate
—, T u r n e r . A yellow pigment con- for this it yields broad and soft out-
sisting of litharge and sea salt. lines.
Yellowish. (Paint.) A colour or Zincography. T h e process of engrav-
tonality is said to be yellowish when it ing upon zinc.
approaches nearly to yellow. Zinzolin. A violet colour tinged with
red. T h e word comes from the Spanish
cinzolino. Some authors write gingeo-
z. Un.
Zodiac. (Arch.) A term applied to
Zeus. In Greek art Zeus is invariably
bas-reliefs representing the signs of the
represented as a bearded man of majestic
zodiac interpreted with considerable
mien. T h e gold and ivory statue at
eccentricity. Numerous examples of
Olympia showed him seated on a throne,
zodiacs are to be found on the doors of
as became the king of gods and men.
churches of the Gothic style.
His attributes are the sceptre, thunder-
Zone. T h e portion of the surface of a
bolt and eagle. When he is not repre-
sphere included within >^**~îï"l)v
sented throned in kingly state, h e is
two parallel planes. T h e i n g f l A
generally taking part in the war against
paintings in cupolas gene- Ï M i l l B B H
the giants, or Athene is being born from
rally occupy a zone, the ^^'''V-T^jy
his head. H e is frequently represented
upper portion of the cupola ^ssssP1
side by side with Hera, who is then veiled.
being pierced with a circular opening.
Zigzag. A broken line forming angles,
Zoòphorus. (Arch.) A term applied by
Vitruvius to friezes decorated with
foliage and arabesques, in the midst of
which the figures of animals are intro-
duced.
Zotheca. (Arch.) A recess introduced
in the sleeping room of Roman houses.
which alternately project and retreat. T h e bed was placed in it.
422
THE ARTISTIC CRAFTS SERIES·
Edited by W. R. LETHABY.
There is a broad purpose in this series of handbooks on the
Artistic Crafts. It is the intention to provide trustworthy text-
books of work-shop practice from the point of view of experts
who have accurately examined the methods current in the shops,
who are prepared to say of what good workmanship consists, and
to establish a standard of equality in the crafts, more especially
associated with design. Workmanship where separated by too
wide a gulf from fresh thought—that is, from design—eventually
decays, and, on the other hand, ornamentation apart from work-
manship is apt to be unreal and affected. Furthermore, there is
a demand for such standard works from those who put artistic
craftsmanship before people as furnishing reasonable occupation for
those who would gain a livelihood, with a chance of reaching a
distinct measure of success.
Illustrated. 12mo. Half-Bound.
D. A P P L E T O N A N D COMPANY, N E W YORK.