Transcriber’s Note:

The cover image was created by the transcriber and is placed in the public domain.

AN ILLUSTRATED DICTIONARY

OF WORDS USED IN

ART AND ARCHÆOLOGY.

[All rights reserved.]

PRINTED BY GILBERT AND RIVINGTON, LIMITED, ST. JOHN’S SQUARE, LONDON.

APSE OF THE BASILICA OF ST. PAUL-WITHOUT-THE-WALLS, ROME.
[See Basilica, p. [37].

AN ILLUSTRATED DICTIONARY
OF WORDS USED IN
ART AND ARCHÆOLOGY.
Explaining Terms frequently used in Works on Architecture, Arms, Bronzes, Christian Art, Colour, Costume, Decoration, Devices, Emblems, Heraldry, Lace, Personal Ornaments, Pottery, Painting, Sculpture, &c., with their Derivations.

By J. W. MOLLETT, B.A.

Officier de l’Instruction Publique (France);

AUTHOR OF THE LIVES OF “REMBRANDT” AND “WILKIE” IN THE “GREAT ARTISTS” SERIES.

London:

SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON,

CROWN BUILDINGS, 188, FLEET STREET.

1883.

PREFACE.

This Dictionary was commenced as an amended edition of that written by M. Ernest Bosc, architect of Paris, and contains the 450 engravings published in the French work, to which about 250 more have been added. Little or nothing, however, of the text of M. Bosc’s work has been left standing; his definitions having, in the process of revision under reference to original works, almost entirely disappeared. The whole work, as it now stands, has been drawn from, or carefully corrected by, the best authorities in each of its special branches. Considerable prominence has been given to Architecture, from the French original corrected from English writers; to Christian Antiquities from Martigny, and the Dictionary of Dr. Smith and Professor Cheetham, and other authorities; to Mediæval Armour, and terms of Chivalry, chiefly from Meyrick’s Ancient Armour; to Costume from Planché and Fairholt; to Heraldry from Boutell’s and Mrs. Bury Palliser’s works; to Pottery, the substance of the articles on this subject being derived from M. Jacquemart’s work; to Needlework, Ivories, Musical Instruments, Goldsmiths’ Work, Painters’ Materials and Processes Ancient and Modern, Colour, &c., with references to the several authorities referred to.

The Greek and Roman Antiquities, which are the principal part of M. Bosc’s work, have been in this volume reduced to the smallest possible compass: the Dictionaries of Dr. Smith and Rich must be referred to by those who require fuller definitions upon this subject, which would of itself fill ten such books as the present.

A few Indian, Chinese, and Japanese Terms, which have come into ordinary use in art, have been sought out and inserted: in the first-mentioned Dr. Birdwood’s Handbooks have been a most useful guide. Finally, it is necessary to state, that many words essential to the completeness of the work would have been in danger of omission, if I had not had before me Mr. Fairholt’s admirable Dictionary of Art Terms, which, occupying a more restricted ground than this, is so thorough and accurate in dealing with all that it professes to include, that the only raison d’être of this work is the very much wider and different ground that it covers, and the greater condensation of its definitions. Obviously the substance of every statement in the work is borrowed from some previous writer on the subject, and it is evident that a Dictionary of Reference is not a convenient vehicle for theory or invention.

The appended list of Classified Catalogues which have been prepared by direction of the authorities of the South Kensington Museum, will have the additional use of referring the reader to the fountain-head at which he can verify and amplify the condensed information that this work supplies.

J. W. MOLLETT.

October, 1882.

CLASSIFIED CATALOGUES OF BOOKS ON ART

IN THE

NATIONAL ART LIBRARY, SOUTH KENSINGTON MUSEUM.

ISSUED BY AUTHORITY.

List of Works on Costume, 1s.; Furniture, 1d.; Heraldry, 3d.; Lace and Needlework, 1d.; Ornament, 6d.; Painting, 4d.; Pottery and Porcelain, 3d.; Sculpture, 3d.

These Catalogues may be had on application to the Secretary of the Science and Art Department, South Kensington, S.W.

ILLUSTRATED DICTIONARY OF WORDS
USED IN
ART AND ARCHÆOLOGY.

Abbreviations—Arch. Architectural; Chr. Christian; Egyp. Egyptian; Fr. French; Gr. Greek; Her. Heraldic; It. Italian; Lat. Latin; Med. Mediæval; O. E. Old English; Orient. Oriental; R. Roman.

Aar or Aarou, Egyp. A plain in a supra-terrestrial region, which corresponded, with the Egyptians, to the Elysian Fields of the Greeks and the Asgard of Scandinavian mythology.

Fig. 1. Abaculi used as pavement.

Abaculus, Gr. and R. (a diminutive of abacus, q.v.). A small square or cube of glass, or some vitreous composition made to imitate stone or glass of various colours. Abaculi were employed for the inlaid-work of pavements, or the incrustations of mosaic.

Abacus, Gr. and R. (ἄβαξ, a slab or board). 1. In general a rectangular slab of stone, marble, or terra-cotta. 2. A board or tray used in arithmetical calculations, and constructed for reckoning by tens. 3. A play-board divided into compartments, a kind of backgammon in use in antiquity. The same term was also applied to a board used for another game of skill, the ludus latrunculorum, which was more like our chess. 4. A side-board on which were displayed, in the triclinium, or dining-room, silver plate and other table utensils. 5. A slab of marble, used for a coating in the decoration of a room or apartment of any kind. 6. A square slab of terra-cotta or wood, placed by the earliest builders at the top of wooden columns, in order to give them a broader head, and so afford a better support to the beams which rested on them. It was this motive that gave rise to the formation of the abacus of the capital of a column.

Abaton or Abatos, Gr. (α, βᾰτὸς, inaccessible). A term used generally to denote any inaccessible place, such as the cella of a temple, an adytum from which the profane were excluded. The term Abaton denoted more particularly a building in the city of Rhodes, which contained, together with two statues in bronze, a trophy commemorating a victory gained over the Rhodians. This memorial had been placed in the building by queen Artemisia, who had consecrated it to a divinity. To destroy it would have been a sacrilege, and as no one could be allowed to penetrate into the interior of the Abaton, without the defeat of the Rhodians becoming known, all access to it was forbidden.

Abezzo, Olio di, It. Strasburg Turpentine (q.v.).

Fig. 2. Ewer for ablutions (Persian).

Ablutions, Chr. There were various ablutions: that of the head (capitilavium), as a preparation for unction in baptism; that of the hands (aquamanile), during Mass, &c.; that of the feet (pedilavium), including the ceremony of washing the feet of the poor, performed on Maundy Thursday, by the Pope. (Fig. [2].)

Abococke, Med. Cap of estate, worn by kings on their helmets: “a huge cappe of estate, called Abococke, garnished with two rich crownes;” 15th century.

Fig. 3. A Lictor with the fasces, wearing the abolla.

Abolla, Gr. and R. (ἀναβολὴ, a throwing back and around). A cloak made of a piece of cloth folded double and fastened round the throat by a brooch. Abolla major was the name given to the ample blanket in which the Greek philosophers were accustomed to wrap themselves. This cloak was adopted by the philosophers as an instance of their humility, because it was mostly worn by the poorer classes at Rome. Fig. [3] is a representation of one of the lictors, with his fasces on his shoulder, and wearing the abolla.

Abraxas, Gr. (a mystical or cabalistic word formed of the Greek letters α, β, ρ, α, ξ, α, ς). Cut stones or gems of very various shapes, upon which are engraved the words Abraxas, Abrasax. They are also known as Basilidian stones or gems, because they constituted the symbols of the gnostic sect of the Basilidians. Certain peoples looked upon them as magic amulets against particular maladies and demoniacal influences. The impressions on these stones are very varied; cabalistic figures, the signs Α and Ω, and the word ΙΑΩ, which designates the Supreme Being. Numerous explanations have been sought for this term abraxas; some philologists assert that it comes from the Persian [or Pehlvi], and that it signifies Mithra; others derive it from the Hebrew, or the Coptic, while others again recognize in it only a numerical sign, the letters of which, added together, would give the number 365, or the number of days that make up the year, and in this case abraxas would symbolize the annual revolution of the sun. A figure often found upon Abraxas stones is that of a serpent with a radiated lion’s head (Chnouphis), which rears itself amid seven stars. The reverse of these stones often bears the inscription ΤΩ ΧΝΟΥΦΙ, “To Chnouphis.”

Absidiole. Diminutive of apse, and thus used to denote a small apse terminating a lateral nave, while the apse closes the central or chief nave. (See Absis.)

Absis or Apse, R. (ἁψὶς, a bow or vault). Any enclosure of semicircular form terminating a room, hall, &c. There was an absis in the Basilica (q.v.), or court of justice, and it was in the semicircular recess thus formed that the judges’ seats were placed. Many temples also had an absis attached to them, and there is one in particular of this description well known to all archæologists. This is the absis of the temple of Venus at Rome, which was built by the emperor architect Hadrian. (See Apse.)

Abutment, Arch. called also Impost. The solid part of a pier from which an arch immediately springs.

Abydos, Tablets of, Egyp. Under this term are designated two hieroglyphic inscriptions containing the names of Egyptian kings. These tablets were graven upon the walls of a cella in a small temple at Abydos, in Upper Egypt; hence their name. The first tablet, the beginning of which was destroyed at the time of its discovery, contains the names of the kings of the twelfth and eighteenth dynasties; this inscription was discovered in 1817 or 1818 by J. W. Bankes, and drawn by Caillund in 1832; it had been taken down from the wall of the temple by Mimaut, the French consul at Alexandria. It is now at the British Museum. The second tablet, which begins with Menes, who is generally supposed to have been one of the first kings of Egypt, contains a complete list of the two first dynasties, as well as a great number of names belonging to kings of the third, fourth, fifth, sixth, ninth, tenth, and eleventh dynasties. This tablet was discovered in 1864 by M. Mariette. It is reproduced in De Rougé’s treatise on the six first dynasties.

Abyssus, Egyp. A Coptic word, read by some archæologists as Noun (q.v.), and which signifies the abyss, the immensity of the celestial waters upon which sails the solar bark.

Acacia, R. A term employed by some antiquaries to denote an object held in the hand of the statue of an emperor of the Lower Empire. It usually consists of a piece of cloth, which the emperor unfurled as a signal for the games to commence.

Academies of Italy. Literary societies established during the middle ages. The principal were the Accesi, Affidati, Amorevole of Verona, Animosi of Milan, Arcadi of Rome, Ardenti of Pisa, Ardenti of Naples, Ardenti of Viterbo, Catenati of Macerata, Chiave of Pavia, Crusca of Florence, Elevati of Ferrara, Eterea of Padua, Florimontana of Annecy, Granelleschi of Venice, Infiammati of Padua, Infocati, Insensati of Perugia, Intronati of Siena, Lincei of Rome, Occulti, Offuscati, Ostinati, Rinovati, Sonnachiosi of Bologna, Trasformati of Milan, Travagliati, Unanimi. Their devices are described under the respective headings.

Acæna, Gr. (ἀκαίνη), a measuring-rod; ten Greek feet in length.

Fig. 4. Architectural acanthus.

Acanthus, Gr. and R. (ἀκὴ a point, and ἄνθος, a flower). A plant, the ornamental foliage of which has been largely employed as an architectural decoration by different peoples. The acanthus has been applied to the ornamentation of friezes, cornices, modillions, and various other members of architecture, but in especial to the decoration of modillions (projecting brackets) (Fig. [4]) and of Corinthian and composite capitals. There are several varieties of the acanthus; those most in use are the cultivated acanthus, or Brankursine (Acanthus mollis), and the spring acanthus (Acanthus spinosa), the foliage of which is much less beautiful, and furnished with small spikes which make the plant resemble a thistle. This last has also often been applied to decoration, in the Romano-Byzantine and lanceolated styles of architecture. An English name for this ornament is the “bear’s claw.”

Fig. 5. Bracket decorated with acanthus.

Acapna, Gr. (α, priv., and καπνὸς, i. e. without smoke). Wood for fuel, which had undergone several operations to hinder it from smoking when put on the fire. One of the methods employed consisted in stripping the bough of the bark, immersing it in water for some days, and then leaving it to dry. In a second method, the surface was rubbed with oil or oil-lees, or else the piece of wood was plunged into the oil for a few moments. A third method consisted in slightly charring the surface of the wood by passing it through the flame. The wood prepared by this last process was also called cocta and coctilia.

Acatium, Gr. and R. (ἀκάτιον, dimin. of ἄκατος, a light boat). A description of vessel belonging to the class called actuariæ, i. e. were propelled either by sails or oars. The acatium was a fast-sailer much employed by the Greek pirates. The stern was of a rounded concave form (inflexa), and the prow was adorned with a beak (rostrum). (See also Actuariæ.) The name acatium was also given to a drinking-vessel which was in the form of a boat. The Roman scapha was a similar vessel.

Acca. A word used in the 14th century for a cloth of gold shot with coloured silk, figured with animals: from Acre in Syria.

Accesi, It. (inflamed). One of the Italian Literary Academies. Their device was a fir-cone placed over a fire, with the motto “hinc odor et fructus.”

Accetta, Med. Lat. A battle-axe, or hache-d’armes.

Accidental or complementary colour, the prismatic complement of a ray of light: such are orange to blue, green to red, and purple to yellow.

Accidental light. An effect of light in a picture independent of the principal light, such as that on the Holy Child in the Notte of Correggio, or that of a candle, &c.

Acclamations, Chr. Formulas employed by the first Christians to express their grief on the occurrence of some misfortune, or on the other hand, to testify their joy at some piece of good fortune. These acclamations were imitated from the nations of antiquity [e. g. at marriages, “Io Hymen, Hymenæe, Talassio:” at triumphs, “Io, triumphe,” &c.].

Accollée, Her. (1) placed side by side: (2) entwined about the neck.

Accosted, Her. Side by side.

Accrued, Her. Grown to maturity.

Accubitum, R. (ad and cubitum, an elbow). A bed or rather couch of a peculiar kind, upon which the Romans reclined at meals, and which replaced the lectus triclinarius. It was a kind of sofa holding only a single person, while the lectus triclinarius held two or three. The act of reclining on this sofa was called accubitio or accubitus, a term derived from accubo, to recline at table.

Acerra or Acerna, R. (prob. from acer, maple). A small square box with a hinged lid; a coffer used to hold the incense for sacrifices; whence its Latin names arca turalis, arcula turalis, acerra turis custos. The acerra appears on certain bas-reliefs among the sacred utensils. It is to be seen represented on the altar of the small temple of Quirinus, at Pompeii, underneath a garland, and above an augur’s wand. It is generally met with, as being carried by the officiating priests, at religious ceremonies. The attendant carried the acerra in the left hand and employed the right hand to sprinkle the incense on the flame of the altar; whence the expression libare acerra. The term acerra was also used to denote a small portable altar placed before the dead, on which incense was burnt during the time the corpse was exposed to view (collocatio). The altar was also named, from this circumstance, ara turicrema.

Acetabula, R. A kind of bronze cymbals, attached to the hands and feet, as also to the knees. The same name was also given to silver cymbals which were played by striking them with a stick of hard wood.

Acetabulum, R. (from acetum, vinegar). A cup for vinegar used by the Romans at meals.

The acetabulum was also a goblet used by jugglers among the Greeks and Romans to make nutmegs disappear. By the latter these jugglers were called præstigiatores, by the former ψηφοκλέπται or ψηφοπαίκται. Lastly, we find in Pliny the Elder that acetabulum was the name given to a dry measure of capacity, equal to the quarter of a hemina or the half of the quartarius, and equivalent to .1238 of a pint. [The Greek Oxybaphon.]

Acha, Achia, Hachia, Lat. A battle-axe.

Achelor, Achlere or Ashlar. (Arch.) Hewn stone.

Achromatic, Gr. (α priv. χρομος, colour). The effect of an arrangement of lenses by which a coloured ray of light is rendered colourless.

Acicula, Gr. (dimin. of acus, a needle or pin). In particular a bodkin used by the Roman ladies to keep the hair in its place when curled or plaited, and to keep on false hair. The words acicula and acus are however all but synonymous. The former does not denote a bodkin of smaller size than the acus, but an object made of an inferior material; the acus being of silver, ivory or gold, while the acicula was simply of bone or some hard wood such as box, myrtle, olive, &c.

Fig. 6. Acinaces.

Acinaces, Orient. (ἀκινάκης; orig. a Persian word). A straight poniard resembling a very short Roman sword, used by the Eastern nations of antiquity, especially, the Medes, Persians and Scythians. It was worn by soldiers suspended from a belt round the waist, but the weapon hung either at the right or the left side, according to the nationality and accoutrements of the soldier. When, however, he wore a sword, this was always placed at the left, and the acinaces at the right side of the body. The handles of these weapons are generally extremely rich.

Acisculus, R. (Diminutive of ascia, an adze = a small adze). A small pick employed by stone-cutters and masons in early times. Representations of it may be seen pretty frequently on medals, in especial those of the Valerian family. [See Ascia.]

Acketon, Fr. A quilted leathern jacket, worn under the armour, introduced from the East by the Crusaders.

Aclis or Aclyx, R. A sort of harpoon, consisting of a thick short stock set with spikes. This massive weapon was chiefly employed by foreign nations, but not by the Romans. It was launched against the enemy, and drawn back by means of a cord to which it was attached, to be launched a second time. This weapon bears some resemblance to a particular kind of angon (or trident). (See Angones.)

Acoustic Vases, R. (Gr. ἀκουστικὸς, pertaining to the sense of hearing). Vases of earthenware or more often of bronze, which, in the theatres of antiquity, served the purpose of strengthening the voices of the actors. Vases of this kind would also seem to have been employed for the same purpose during the middle ages, for the architect Oberlin, when repairing the vault of the choir, in the ancient church of the Dominicans at Strasburg, discovered some acoustic vases there.

Fig. 7. Acratophorum, Roman.

Acratophorum, Gr. and R. (ἀκρατο-φόρος, holding unmixed wine). A table vessel for holding pure wine, while the crater (κρατὴρ), on the other hand, contained wine mixed with water. These vessels were often dedicated to Bacchus. They were made in earthenware and metal, but those that were dedicated to the gods were of gold and silver, and had their place among the treasures of the temples. Fig. [7] represents a silver acratophorum found at Hildesheim.

Acrolith, Gr. (ἄκρον, end, and λίθος stone). A statue covered with garments which in many cases were gilded. The extremities of these statues were of marble or stone—whence their name—more rarely of gold and ivory. The Minerva of Areia, at Platæa in Bœotia, described by Pausanius, was an acrolith. This was by Pheidias. The acrolith period is the infancy of the Greek plastic art.

Acropodium, Gr. (ἄκρον, end or point; and πόδιον, a foot). A low square plinth serving for basement to a statue and often forming part of it.

Acropolis, Gr. (ἀκρό-πολις, upper or higher city). From its primary meaning the term came to signify a fortified city. They were very numerous, in ancient times, in Italy, Greece and the colonies of Asia Minor. Most ancient Greek cities were built upon hills, and the citadel on the summit of the hill was called the acropolis.

Acrostic, Chr. (ἄκρον, end, and στίχος, a row or line). A combination of letters formed out of some word, which is thus made to express a thought differing from its own meaning. For instance, the Greek word ΙΧΘΥΣ (ICHTHUS, fish), symbolizes, in the primitive church, the name of Christ. The following is the acrostic of this word: Ιησους, Χριστος, Θεου, Υἱος, Σωτηρ I, CH, TH, U, S.

Fig. 8. Roman acrostolium.

Acrostolium, Gr. and R. (ἀκροστόλιον, extremity of beak of a ship). An ornament employed by the ancients to decorate the upper extremity of the prows of ships. This ornament often figured among trophies, since it was the custom for the victor in a naval combat to take the acrostolia from the captured ships. It is frequently to be met with on the bas-reliefs of triumphal monuments. Fig. [8] shows an acrostolium taken from a bas-relief in the Museum of the Capitol. The object seen projecting from the acrostolium is a sounding lead.

Acroterium, Gr. and R. (ἀκρωτήριον, the extremity of anything). In a signification more restricted than the primary one, yet generally admitted, the term acroteria is applied to the plain socles and pedestals placed at the summit of buildings to support statues, groups, or other crownings. Acroterium was the common name for the acrostolium, and the taking of it away as a trophy was called acroteriazein.

Actia, Gr., festivals held every fourth year, at Actium, in Epirus, in honour of Apollo.

Actinic (rays of light:) chemically active.

Actuariæ, R. (See Naves). Open boats, built to attain a high degree of speed, propelled by sails and sweeps, and never fitted with less than eighteen oars. Pirates used this class of vessel exclusively.

Actuarii, R. The shorthand writers who took down speeches in the senate. Also certain officials who answered to our commissariat officers.

Acuminated, Arch. Finishing in a point, like a lofty Gothic roof.

Acus, R. (Gr. ἀκὴ, a point). A bodkin, needle, or pin. The acus denoted both a needle for sewing and a pin for fastening anything. When used for the hair it was called acus crinalis or comatoria. In Christian archæology the word applies to the jewelled pins used as fastenings to papal or archiepiscopal vestments. The Roman acus is worn in the hair by the Italian peasant woman of the present day.

Addorsed, Her. (1) Back to back; (2) pointing backwards.

Adespotoi, Gr. (ἀ-δέσποτοι, i. e. without masters). A name given to a certain class of freedmen at Sparta.

Adobare, Med. To entrust with arms (to “dub” a knight). Meyrick.

Adobes. Bricks manufactured by the ancient Peruvians.

Adramire, Med. To challenge to a duel or tournament. (Meyrick.)

Fig. 9. Plan of a Roman temple, showing the adytum.

Adytum or Adyton, Gr. and R. (ἄδυτον, from α, priv., and δύω, to enter). An obscure and secret sanctuary in certain temples from which the public was excluded, and into which the priests alone might enter. The little temple of Pompeii possessed an adytum, and it was here that was discovered the Portici Diana now in the Naples Museum. There was also an adytum in the temple of Delphi, which was burnt down in the first year of the 58th Olym., and rebuilt by the Corinthian Spintharus. The temple of Paphos contained in its adytum a representation of the goddess under the form of a column pointed at the top and surrounded by candelabra. The engraving shows the position of the adytum of a small Doric temple, now destroyed, which once stood near the theatre of Marcellus at Rome. The adytum was the name given to the cella of a temple, in which oracles were given, or the worship was connected with mysteries. See Abaton and Cella.

Ædicula, R. (dimin. of Ædes, q.v.). A small house, temple, chapel, tabernacle, or even shrine. Thus the name was given to a small wooden shrine, constructed to imitate the front of a temple, and in which were preserved the ancestors of the family (imagines majorum), together with the Lares and tutelar divinities.

Ægicranes, Gr. (αἴγειος, of a goat; κρανίον, the skull). A goat’s [or ram’s] head employed as a decoration by ancient sculptors. It was used chiefly to adorn altars which were dedicated to rural divinities.

Æginetan marbles. Two remarkable groups of very early (archaic) Greek sculpture, in the Glyptothek at Munich—discovered in the temple of Pallas-Athene at Ægina, and arranged by Thorwaldsen. They illustrate “the infancy of art, which lingers round symbolic representation, and has not yet grasped the full meaning and truth of nature.” (Butler’s Imitative Art.) The anatomy of the bodies and limbs at this period is greatly superior to the expression of the heads.

Ægis, Gr. In its primary meaning, a goat-skin. The primitive inhabitants of Greece used the skins of goats and other animals for clothing, and defence. At a later period the Ægis became a protective mantle; the shield of Minerva, beneath which the goddess sheltered those whom she wished to protect from the enemy’s missiles. Later still the Ægis denoted the breastplate of a divinity, in especial that of Jupiter or Minerva, as opposed to the lorica, which was the breastplate of a mere mortal. The ægis bore in its centre the Gorgon’s head, of which the serpents were arranged round the border. Minerva is generally represented wearing it, either as a cuirass or a scarf passed over the right shoulder.

Aëneator (Lat. aëneus, brazen). The name given to any musician who played on an instrument of brass (aëneum); such as the buccinatores, cornicines, liticines, tubicines, &c. They formed a college.

Fig. 10 Eolipyle.

Æolipilæ or Æolipȳlæ, Gr. (αἴολος, the wind; and πύλη, an orifice). A metal vase with a narrow orifice, which was filled with water and placed upon the fire, either to make the chimney draw better, or, according to Vitruvius, to show which way the wind blew.

Æolian Harp, Gr. A musical instrument that is played on by the wind passing over its strings.

Ærarium, R. (æs, money). The public treasury as distinguished from the private treasury of the Emperors (fiscus). Under the Republic the temple of Saturn served as the public treasury, and here were preserved the produce of the revenue, the public accounts and other public records. The army had a separate treasury of its own called ærarium militare, entirely distinct from the ærarium publicum. It was established by Augustus to provide for the special expenditure of the army.

Aerial perspective. The realization of the effect of intervening atmosphere in the distances of a landscape.

Æro, R. A basket made of rushes or broom, but still more commonly of osier, and used for conveying sand. It was employed by the Roman soldiery when at work on intrenchments, excavations, or fortifications, as may be seen from bas-reliefs; more particularly some of those which adorn the column of Trajan.

Æruca, R. (æs, bronze). A very brilliant green colour artificially made to imitate verdigris.

Ærugo, R. Verdigris, the same colour as æruca (q.v.), but obtained from oxide of bronze. It is difficult to establish a real distinction between the two terms, as Pliny gives the name of ærugo (the rust of bronze) to what Vitruvius calls æruca. It is probable, however, that æruca was a kind of verdigris obtained by artificial means, while ærugo was the natural verdigris. This has given rise to the two terms, which by many archæologists are confused together. Æruca, the artificial copper rust, formed by the action of wine refuse upon copper, is an acetate of copper (verdigris): while the genuine copper rust, Ærugo, is a carbonate of copper.

Ærumna, R. A kind of fork by which travellers carried their baggage over the shoulder. 2. An instrument of punishment for slaves. (See Furca.)

Æs. A term used in antiquity to denote brass, copper, bronze, or any alloy of these metals. It also serves, in various connexions, to denote a number of different objects. Such as æs candidum, a brass mixed with silver; æs Corinthum, a brass mixed with gold; æs Cyprium, the ancient name for copper. (See also Bronze.)

Æs grave, R. A general term current in Rome to denote any bronze money at the period when the as was equal to about a pound in value.

Æs rude, R. The name given to the bronze ingots employed at Rome as ready money in exchanges and other commercial transactions.

Æs thermarum, Gr. and R. A bronze gong or metal bell hung up in the public baths, the sound of which, when struck, gave notice to the public that the baths were sufficiently warm to be ready for use.

Æs ustum. Peroxide of copper, or calcined copper.

Æsthetics, Gr. (αἰσθάνομαι, to comprehend). The science of the instinctive apprehension of the harmonies.

Aetos, Gr. (Ἀετός). A Greek word signifying eagle, and by analogy, a gable, pediment, or higher part of a building generally, so called from the resemblance which these parts bear to an eagle with outstretched wings. In the same way the Greeks gave the name of πτερὰ (wings), to the outer rows of columns flanking each side of a temple.

Affidati, It. One of the Italian literary academies. Their device was a nautilus, with the motto “tutus per suprema per ima.”

Affrontée, Her. Showing the full front.

Agalma, Agalmata, Gr. (ἄγαλμα, from ἀγάλλω, to glorify). Any work of art dedicated to a god, whether it were placed in his temple or not; such as tripods; [braziers for incense], or other accessories of a temple. The low pillar placed over a tomb, or the statue of a god might be agalmata.

Agate. A variety of quartz often employed by the engravers of antiquity. The term is a corruption of the word Achates, a river of Sicily, on the banks of which numerous varieties of the stone abound. Among these maybe mentioned the cerachates, or white wax-like agate; dendrachates, or arborescent agate; hemachates, or blood-agate, so called from its blood-like spots; and leucachates, or white agate. Agates were often carved into scarabæi by the Egyptians, and Babylonian cylinders have been found, made of the same material. The oriental agate is semi-transparent, the occidental is opaque, of various tints, often veined with quartz and jasper; hence its fitness for cutting cameos.

Agathodæmon, Cup of, Gr. (Ἀγαθο-δαίμων). A name given by the Greeks to a cup consecrated to Bacchus, and meaning literally, the “Cup of the Good Genius.” It was sent round after a feast, in order that each guest might partake of the wine.

Agea, R. A narrow passage or gangway in a boat, by means of which the boatswain (hortator) communicated with the rowers.

Agger, R. A general term to denote a mound of any materials, such as that formed by a dyke, quay, roadway, or earthwork; and particularly a rampart composed of trunks of trees and employed in offensive or defensive warfare. A celebrated agger was that of Servius Tullius at Rome. The art of constructing aggeres and other fortifications, had been learnt by the Romans from the Greeks, who in their turn had derived it from the East. It was after having penetrated into the heart of Asia under Alexander the Great, that the Greeks learned the use of siege works employed in the attack or defence of strong places, and became acquainted with various kinds of warlike engines such as the Acrobaticon, &c.

Agnus Bell, Chr. A sacring bell.

Agnus Dei, Chr. The Lamb of God, or lamb bearing the banner of the cross. The term is also used to denote certain ornaments or medallions of wax impressed with a figure of the lamb. They represented the ancient custom of distributing to worshippers, on the first Sunday after Easter, particles of wax from the consecrated paschal taper.

Agolum, R. A long sharp-pointed shepherd’s stick used by the Roman herdsmen for driving their cattle. The agolum was made out of a straight shoot of the prickly pear; it is still in use among the herdsmen of the Roman campagna at the present day.

Agonalia or Agonia, R. A Roman festival, which derived its name from the word agone (shall I proceed?) the question asked of the rex sacrificulus by the attendant, before he sacrificed the victim. The Quirinal was called Mons agonus, from a festival being held there on the 17th or 18th of March, in honour of Mars. The day itself was called Agonium martiale or day of the Liberalia. Another explanation of the etymology of the name is that the sacrifice was offered on the Quirinal hill, which was originally called Agonus. (Consult Ovid. Fasti, i. 319–332, he suggests several explanations.)

Agonistic, (ἀγωνιστικὴ, from ἀγὼν, a contest). With the ancients, that part of gymnastics in which athletes contended with arms.

Fig. 11. Agora of Antiphellus.

Agora, Gr. (ἀγορὰ, from ἀγείρω, to assemble). A place of assembly or public market. The agora was to the Greeks what the forum was to the Romans. There were numerous agoræ in Greece and Asia Minor. Fig. [11], represents the plan of the agora of Antiphellus; in which a and b indicate the sites of the corn-pits; c, that of a basilica. Agora is also used to denote the general assembly of freemen in contradistinction to the Boulè (q.v.).

Agraulia. An Athenian festival.

Agrenon, Gr. and R. A net, or garment of netted wool, worn over their other dress by the priests of Bacchus and by soothsayers.

Aguinia, Med. A corruption of ingenia, engines of war. (Meyrick.)

Aguzo, It. A spear-head; a spear.

Ahenum or Aenum. A bronze vessel furnished with a handle for suspending it over the fire, and so named from the material out of which it was made. (2) The coppers used in the public baths for heating the water in.

Fig. 12 Aiglets.

Aiglet, Fr. (aiguillette). A metal tag or point to a lace; sometimes used to signify the lace itself, as in the military costume of the present day. They were formerly used to fasten the slashed dresses of the middle ages; and sometimes to fasten armour, when they were made of leather with metal points. In civilian costume they were of silk. The term Aiguillette is also applied to the shoulder-knot worn by soldiers and livery servants.

Ailettes (little wings). Armour worn on the shoulders to protect the back of the neck; found in monumental brasses of the 13th century.

Aisle (ala, a wing). The wing of a building; the side passages of a Roman house. In buildings of vast size, such as a basilica or temple, comprising a central and two lateral naves, the latter are called aisles.

Alabarda, Med. A halberd.

Alabaster or Alabastrum, (ἀλάβαστρον). A small vase for holding precious perfumes; so called from the alabaster of which it was generally made. It was of various shapes, but chiefly assumed an elongated form resembling a long pear, a pearl-drop, &c. [Many of these perfume vessels are made of stalactite.] (2) A calcareous substance of white colour, translucent or semi-transparent, and presenting, according to the variety, undulating and continuous veins. The various kinds of ancient alabaster are very numerous; the following may be named; flowered alabaster (alabastro fiorito); golden (dorato); quince coloured (cotognino); eyed (occini); tortoise-shell (tartaruga); foam-white (pecorella); Busca de Palombara (palombara); onyx (onice), &c. The Egyptians used alabaster for making statues, phials, panegyric vases, canopea, small figures, and even sarcophagi; of which last that of Seti I., now in the British Museum, is an example. Alabaster was at one time frequently used for tombs and carved figures, and is now used for pulpits and other ecclesiastical purposes. False alabaster is the name given to a gypseous variety of this substance, of which there are rich quarries at Volterra, in Tuscany. It is called “Gesso Volterrano,” and is much used in Italy for the grounds of pictures.

Alabastrotheca, R. (θήκη, a chest). A box or casket containing alabaster flasks or vases.

Aland, Alant, Her. A mastiff with short ears.

Alapa. The blow on the shoulder in dubbing a knight.

Alba creta. Latin for white chalk, a term used by writers on art for gypsum.

Albani stone. A pepper-coloured stone used in ancient buildings at Rome before the introduction of marble.

Albarium (opus), R. (albus, white). A white coating or kind of stucco with which brick walls were covered after a previous application of ordinary cement. This stucco, which was also called simply albarium, was made by a mixture of chalk, plaster, and white marble.

Albalista, Arbalest. A cross-bow.

Fig. 13. Albe.

Albe, (albus, white). An ancient ecclesiastical vestment, common in old brasses. It was a long white linen gown, reaching to the feet, and secured by a girdle. The surplice is an albe with wider sleeves. (Fig. [13].)

Alberk, for Hauberk. A cuirass.

Album, Gr. and R. (albus, white). A space on the surface of a wall covered with white plaster, upon which were written advertisements or public announcements. By analogy the term was used to denote any kind of white tablets bearing an inscription, such as edicts, decrees, &c. These tablets were very numerous; there were the album pontificis, prætoris, centuriæ, decurionum, judicum, senatorum, &c.

Alcato, Arab. In armour, a gorget.

Alcora pottery (See Denia.)

Alcove. A niche or recess in a room.

Aldobrandini, Marriage, R. A celebrated fresco from the gardens of Mecænas, discovered at Rome near the church of Santa Maria Maggiore, whence it was conveyed to the villa Aldobrandini, and afterwards sold to the Borghese family. This painting which indisputably dates from the reign of Augustus, consists of a group of ten figures, representing, according to some, the marriage of Peleus and Thetis; and according to others, that of Manlius and Julia.

Fig. 14. Point d’Alençon.

Alençon, Point d’. Lace formerly known as Point de France. It is the only French lace not made on the pillow, but worked entirely by hand with a fine needle, on a parchment pattern; it is called “Vilain” in the French provinces, and in England is known as needle point. (Fig. [14].)

Alerion, Her. An eagle, in early Her., represented without feet or beak. (See Eagle.)

Ale-stake. In the middle ages the roadside ale-house was distinguished by a stake projecting from the house, on which some object was hung for a sign.

Alexandrinum (opus), R. A kind of mosaic employed especially for the pavement of rooms. The distinctive feature of these mosaics is that the lines or figures composing the designs are in two colours only, the prevailing ones being red and black upon a white ground. A large number of mosaics of this description exist at Pompeii, which are also called sectilia.

Alexikakos (Apollo). Another name of the celebrated statue generally called the Belvedere Apollo; from Nero’s villa at Antium.

Algaroth powder. An ingredient in the manufacture of an Antimony white pigment.

Fig. 15. Alhambraic ornament.

Alhambraic. Ornamentation in the Moorish style of the Alhambra, the characteristic of which is a faithful imitation of natural combinations of form and colour, with a rigid avoidance of the representation of natural objects. (Fig. [15].)

Alicula, R. A kind of large mantle, furnished sometimes with a hood. The term is derived from the Greek ἄλλιξ, the name given to the Thessalian chlamys. (See Chlamys.)

Alizarin, the colouring principle of the madder.

Allecret or Hallecret. A light armour for cavalry and infantry, consisting of a breastplate and tassets (or gussets), 16th century.

Allegory in art, is allegorically represented as a female figure veiled.

All Halowes or All Hallowes. O. E. for All Saints.

Alloys of Gold. Gold is found alloyed with various metals, never without silver, often with copper, iron, or other substances in small quantities, and sometimes with mercury, when it is called an amalgam. Gold alloyed with silver is called native gold. See Electrum.

Allouyère Fr. (Lat. alloverium). A purse or pouch often carried at the girdle, for holding papers, jewels, and money.

Almayne Rivets (German Rivets). Rivets used in plates of armour made to slide and thus give play to the arms and legs, invented in the 17th century, in Germany; hence their name.

Almery, Aumery, or Ambry, Arch. Chr. A niche or cupboard by the side of an altar, to contain the utensils belonging thereto.

Almond, Chr. An aureole of elliptic form, which is frequently met with encircling representations of saints, or of God the Father, God the Son, or the Virgin. A more common name, however, for this aureole is VESICA PISCIS (q.v.). The term of mystical almond was applied to the symbol expressive of the virginity of the Virgin Mary. The mystical meaning attached to this symbol is explained by reference to the rod of Aaron, which consisted of the bough of an almond-tree that had flowered in a single night and produced an almond on the morrow.

Almonry, Almonarium, Arch. Chr. A room where alms were distributed.

Fig. 16. Almuce.

Almuce, Aumuce, Amess, Chr. (almutium). A furred hood worn by the clergy for the sake of warmth, from the 13th to 16th centuries. Common in brasses of the 15th century. (Fig. [16].)

Aloa, or Haloa. An Attic festival, in honour of Demeter and Dionysus.

Alostel, O. E. A cry of heralds at the close of a tournament, ordering the combatants to quit the lists and retire to their lodgings.

Alpha and Omega, Chr. (ἄλφα and ὠμέγα). These two letters, respectively the first and the last of the Greek alphabet, symbolize our earthly life, since this has a beginning and an end. They are also a symbol of God as being the beginning and end of everything.

Altar. A kind of platform or table upon which sacrifices were offered to the gods. Hence, in Christian art, the table upon which the Eucharistic sacrifice is offered. (See Antependium, Ciborium, Reredos, &c. See Altare and Ara.)

Altar cards, Chr. Portions of the service of the mass printed separately on cards, and placed against the reredos of an altar.

Altar cloth, Chr. The linen coverings, and embroidered hangings of an altar.

Altare, R. (alta ara, high altar). A raised altar as contradistinguished from the ara which was of no great height. (Fig. [17].)

Fig. 17. Circular Roman altar.

Altar front, Chr. An antependium (q.v.).

Altar screen, Chr. The partition behind the high altar, separating it from the Lady Chapel.

Alto-rilievo (Ital.) High Relief. See Rilievo.

Alum is used in many processes—in the preparation of paper for water-colour painting, and of lakes, and carmine, from cochineal. Roche alum, or roach alum, Roman alum, and Turkey alum, are varieties of the common alum, described by mediæval writers as alumens.

Alumen (Lat.), Greek, (stypteria). Mediæval writers confused this word with the alums. The name was applied by the classics to several salts of the nature of vitriols, and among them to the natural sulphate of iron (copperas or green vitriol of commerce).

Alur, Aloring, or Alurde, &c., O.E. Parapet wall.

Alvéole; see Nimbus.

Alveus, R. (alvus, the belly). (1) A bath constructed in the floor of a room, the upper part of it projected above the floor, the lower part being sunk into the floor itself. (2) A playing-board, which was divided in the same manner as the ABACUS (q.v.). (3) A canoe hollowed out of the trunk of a tree, the Greek μονόξυλον. (4) The hull of a ship. (5) A wooden trough or tray.

Ama or Amula, Chr. A long phial for holding the wine presented at the altar at the moment of offering.

Amassette, Fr. An instrument of horn used for spreading colours on the stone in the process of grinding.

Amatito, Ital. Lapis Amatita. Amatito is the soft red hæmatite, and is called also matita rossa. Lapis amatita is the compact red hæmatite, and is also called in Italy mineral cinnabar, and in Spain albin. When this word is used by early writers on art, it probably indicates red ochre, the red hæmatite of mineralogists. (Fairholt.)

Amber. There are two varieties of this substance, viz., the grey and the yellow amber, of which the latter only need here be more particularly noticed. Its use may be traced back to a very early antiquity, the purposes to which it was applied being the setting of jewels and furniture. It was employed by the Jews for making amulets. Amber was also used by the Egyptians in the fabrication of necklaces composed of pearls or other delicate materials. By the Romans it was sculptured into vases or statuettes. The name of vasa electrina was given to amber vases set with silver, and that of electrina patera to pateræ made of amber alone. Amber was largely used by early painters as a varnish, and also as a vehicle. It is harder than copal, and is said to be the most durable of all varnishes. It requires a long time to fit it for polishing. Amber is supposed to be a vegetable fossil; it is washed up by the sea, especially on the shores of the Baltic.

Amber Yellow, is an ochre of a rich amber colour in its raw state; when burned it yields a fine brown red.

Ambitus, Gr. R. and Chr. (ambio, to go round about). A small niche in underground Greek or Roman tombs forming a receptacle for a cinerary urn. In the Middle Ages these niches were so far enlarged as to admit coffins; the name under which they then went being Enfeus (q.v.). During the same period the term ambitus was also applied to the consecrated ground by which a church was surrounded. It served as a place of asylum as well as for burial. The term is also applied to the process of canvassing for votes.

Ambivium, R. (ambi and via, a way round). Any road or street leading round a place.

Fig. 18. The ambo of St. Lawrence at Rome.

Ambo, Chr. (perhaps from ἀναβαίνειν, to ascend). A tribune of stone or marble in the ancient Latin basilicas, a pulpit. Fig. [18] gives a representation of the ambo in the church of St. Lawrence without the walls at Rome.

Ambrices, R. The cross laths (regulæ) inserted between the rafters and the tiles of a roof.

Ambry; see Almery.

Ambulant, Her. In the act of walking.

Ambulatory, Chr. (ambulo, to walk). Part of a cloister, forming a kind of gallery for taking exercise in.

Amenti or Amenthi, Egyp. One of the names given to the nether world of the Egyptians. It means the unseen region. We learn from Plutarch’s treatise on Osiris that, “the subterranean regions whither souls betake themselves after death is called Amenthes.” Osiris is the lord and god of Amenti, which was also called by the Egyptians the country of truth.

Amentum, R. A thong attached to the shaft of a lance at the centre of gravity. The soldier placed the fingers of his right hand between the two ends of the thong, gave the weapon a rapid turn, and then hurled it. Amentum was also used to denote the leather strap by which certain kinds of boots, such as the crepidæ, solæ, &c., were fastened above the instep.

Amess. (See Almuce.)

Amethyst, (ἀμέθυστος, without intoxication.) A precious stone of a more or less deep violet colour. The engravers of antiquity carved figures upon it, in especial those of Bacchus, since the stone was also used, in preference to any other, for making drinking-cups, from a belief that it possessed the virtue of dispelling intoxication. This was the origin of the Greek term. Among the ancient Jews the amethyst was one of the twelve stones composing the breastplate of the high priest; it occupied the eighth or ninth row. In Christian symbolism the amethyst (or the colour violet) signifies humility and modesty.

Amiantus, (ἀμίαντος [? undefiled]). A fibrous uninflammable mineral substance. It was used by the ancients for making fire-proof clothing. It was known by the name of asbestus (ἄσβεστος, uninflammable).

Amice. A piece of fine linen in the form of an oblong square, suspended over the shoulders of the clergy. Pugin says it is “a white linen napkin or veil worn by all the clergy above the four minor orders.” Durand says it is a proper covering for the head, typical of the helmet of salvation alluded to by the apostle; or of the cloth with which the Jews covered the Saviour’s face, when they asked him to prophecy who struck him. Milton, in Paradise Regained, alludes to it,—

“Morning fair

Came forth with pilgrim steps, in amice grey.”

Amma, Egyp. (1) A measure of length in use among the ancient Egyptians. It was about sixty feet. (2) A kind of line used in land surveying.

Ammah, Egyp. The door which formed the exit from the abode of the dead. Chapters lxxiii. and cxv. of the Book of the Dead are entitled,—On passing Ammah; i. e. directing one’s course to heaven by stepping over the Ammah.

Amorevole of Verona. One of the Italian literary academies. Their device was a hedgehog with its spines laden with grapes (for its young). Motto, “non solum nobis.”

Amorini, Ital. Cupids.

Ampelitis, Gr. (ἄμπελος, a vine). A black pigment prepared by the ancients from the burnt branches of the vine.

Amphibalus, Chr. A vestment, used on Sundays and high festivals; peculiar to the Gallican Church.

Amphidromia. Family festival held by the Athenians upon the occasion of the birth of a child. The carrying of the child round the hearth gave the name to the festival.

Amphimallum, Gr. and R. (ἀμφί-μαλλον, woolly on both sides). A description of woollen cloth more or less rough, and having a nap on both sides.

Amphiprostylos, Gr. and R. (ἀμφι-πρόστυλος). A temple or other building having two open porticoes (porticum and posticum), both in front and rear. They are so constructed as to project beyond the cella, or main body of the building.

Amphitapus, Gr. and R. (ἀμφί-ταπος, hairy on both sides). A particular kind of cloth, made of some material resembling Vicuna wool, and having, like the amphimallum, a nap on both sides. It was probably of Eastern origin.

Fig. 19. Ground-plan of an amphitheatre.

Amphitheatre, R. (ἀμφι-θέατρον). A building which was at first constructed for the purpose of exhibiting gladiatorial shows to the Roman populace; but later on any kind of spectacle, even to a naumachia, or sea-fight, was exhibited there. In the engraving, A shows the ground-plan of an amphitheatre, and B the plan of the seats.

Fig. 20. Greek Amphoræ.

Amphora, Gr. and R. (ἀμφὶ-φορέω). A large earthenware vessel, having a handle on each side of its neck (whence the name), and terminating in a point. Amphoræ were used for holding various kinds of produce, especially wine; they were placed side by side in an upright position in the cellar, the floor of which was covered with a deep bed of sand. The engravings represent amphoræ from Cnidus, Chio, and Samos. Amphoræ were also made of glass; and a specimen is mentioned by Nepos of one made of onyx. Homer mentions them of gold and stone; and the Egyptians had them of brass.

Amphotis, Gr. and R. 1. A brass cap lined with cloth inside. 2. A simple woollen cap worn by athletes to protect their temples and ears from the blows of the cestus, in a boxing match. 3. A wooden vessel in use among the ancient Greek peasants, as a milking-pail. It derived its name from having two handles or ears.

Ampulla, Gr. and R. A phial or flask with short and narrow neck and spherical body, which was used to hold the oil requisite for bathers (ampulla oleria); it could also be used to hold vinegar, wine, and other beverages, and was then called ampulla potaria. The ampulla generally took the form of a globe or bladder, but not invariably; a lentil-shaped variety with rounded sides was very common. Ampulla rubida was the name given to the leather-covered flasks which were made use of by travellers or sportsmen to carry wine, vinegar, or oil. The vessel or cruet used in Christian churches for the consecrated oil or wine was hence called the Ampul.

Ampyx, Gr. and R. (ἄμπυξ, from ἀμπέχω, to surround). Latin frontale. A general term to denote any net composed of strings, bands, or ribbons, which forms a head-band. It thus denotes at once a woman’s head-dress, or the ornamental strips of leather which serve as head-band for a horse. The ampyx worn by women was in some cases very costly, being made of gold or silver, and adorned with precious stones. The term was also applied, by analogy, to the cover of a vase. Another word for it is ampicter.

Amulets. Objects of a very heterogeneous description, to which is superstitiously attributed the power of healing certain diseases, or averting them from men and animals. This is the meaning which attaches, in its widest sense, to the term amulet (amuletum). Amulets are unquestionably of Eastern origin; by the Egyptians they were looked upon as preservatives against dangers, unlucky days, enemies, &c. The varieties of them were very numerous; among others, were scarabæi, small columns, cartouches, symbolic eyes, interlacing fingers, heads of uræus, &c. A large number of stones were also employed as amulets; those of commonest occurrence are hematite, jasper, lapis lazuli, amethysts, diamonds, heliotropes, &c. Each of these amulets had its special virtue; for instance, the clear crystal worn during prayer rendered the god propitious, and compelled him to give ear to the suppliant. Coral kept every evil influence away from a house; and in Italy it is looked upon, even at the present day, as a preservative against the evil eye. In Christian archæology, the name of amulets, or in some instances, Encolpia (q.v.), was given to relics, or objects of devotion, such as crosses, medals, wood from the true cross, the bones of saints, &c. Amulets were also called periapta (περίαπτα), i. e. suspended, because they were hung round the neck, and also pyctacium, because some amulets were folded in two. The Arabic word amulet means the same as periapta, that which is suspended.

Amussis, R. The exact sense of this term is not clearly defined by ancient authors, beyond the fact that it denotes generally any kind of instrument employed by builders—especially masons—for testing the accuracy, regularity, and evenness of their work. The term is used to denote sometimes the plumb-line, rule, or square; sometimes the level, measuring-line, &c.

Anabathra, Gr. and R. (ἀνά-βαθρα, steps up). Steps or stairs; a raised step; a mounting block. These last were often placed along the high roads.

Anabologium, Chr. Another name for the Humerale or Amice (q.v.).

Anaceia or Anakeia, Gr. (from ἄναξ, a king). A festival held at Athens in honour of Castor and Pollux, who were also called Anaktes and Anakestes. (See Anaceium). Similar festivals were held at Sparta, Argos, and other cities of Greece.

Anaceium, Gr. A temple of ancient Athens, dedicated to Castor and Pollux. Slaves used to be sold there.

Anaclinterium, Gr. (ἀνακλιντήριον). The head-board of a sofa or bed, which served as a support for the bolster and the pillow on which the sleeper’s head rested.

Anadem, Gr. (ἀνάδημα). In general a fillet or head-band; but in a more restricted acceptation, an ornamental band, such as was worn by women and youths among the Greeks. It was thus distinguished from the diadema and the vitta, which were also head-bands, but worn solely as the insignia of honorary, regal, or religious distinctions.

Anaglyph, (ἀνὰ and γλύφειν, to carve). A general term to denote any work of art that is sculptured, chased, carved, or embossed, such as cameos, bas-reliefs, or other raised work, whether in metal, marble, or ivory. When such sculptures or chasings are incised or sunk, they are called Intaglios or Diaglyphs (q.v.). According to St. Clement of Alexandria, anaglyphs were employed by the Egyptians when they wished to hand down a panegyric of any king under the form of a religious myth. Although the words of St. Clement are very obscure, and have furnished materials for countless discussions, it is now admitted that the anaglyphs in question belong to the group of hieroglyphics which may be deciphered on the cartouches of the Pharaohs, and in which we have, in fact, panegyrics of the Egyptian kings veiled in religious myths. The Egyptians also gave the name of anaglyphs to a kind of secret writing, understood only by the initiated; even at the present day it remains undecipherable, owing to our imperfect knowledge of Egyptian mythology. (See Cælatura.)

Anagogia. A festival at Eryx, in Sicily, in honour of Aphrodite.

Analemma, Gr. and R. (ἀνάλημμα). Any raised construction which serves for a support or rest, and more particularly a pier, wall, or buttress. (2) The pedestal of a sun-dial, and so the sun-dial itself.

Anancœum, R. A drinking-cup of great capacity, the form of which is unknown. If we may credit Varro it was sometimes richly chased.

Anankaion, Gr. (ἀναγκαῖον, from ἀνάγκη, restraint). A kind of prison the purpose of which is not exactly known. According to some archæologists it was a private prison for slaves, or for freedmen, who, from some fault, were reduced to servitude again; others assert that it was a public prison.

Anapiesma, Gr. and R. (ἀνα-πίεσμα, that which is pressed back). An appliance used in ancient theatres. It was a kind of trap-door by means of which deities were raised from beneath the stage so as to make them visible to the spectators. The proscenium contained a certain number of these trap-doors; one of them, leading from the orchestra to the front of the stage, enabled the Furies to appear; by another, marine deities made their appearance; while that through which passed the shades who ascended Charon’s staircase was called Charon’s anapiesma.

Anastatic. An ingenious modern process of reproducing copies of printed matter, engravings, ink drawings, &c., by transferring them to a sheet of polished zinc.

Anathēma, Chr. (ἀνάθημα, an offering). Anything offered up in churches by the faithful; as, for instance, vases and other utensils for sacrifice, altar ornaments, &c.

Anathĕma, Chr. The greater excommunication, answering to the Hebrew cherem.

Anchor. In Christian Art, the emblem of Hope. The attribute of S. Clement, the Pope, who was bound to an anchor, and thrown into the sea. (See Ancora.)

Ancile, R. A shield of the shape of a violin case. It was the sacred shield which, according to tradition, had fallen from heaven into the palace of Numa. It occurs frequently on medals, especially those of Augustus. The two incavations of the shield were more or less deep, and usually semicircular. But Ovid describes it as of an entirely different shape, being cut evenly all round; Idque ancile vocat, quod ab omni parte recisum est (Ovid, Fast. iii. 377). The Salii, or twelve priests of Mars Gradivus, had twelve such shields. The form was oval, with the two sides curving evenly inwards, so as to make it broader at the ends than in the middle. They used to beat their shields and dance.

Anclabris, Gr. and R. A small table used instead of an altar at sacrifices; it was slightly concave, so as to adapt it to hold the entrails of the victim for the inspection of the diviners. (See Altar.)

Ancon, Gr. and R. (αγκων). A term admitting various meanings, (1) A small console on each side of a door supporting an ornamental cornice. (2) The arm of a chair or arm-chair. (3) A cramp of wood or metal serving to connect together courses of masonry or blocks of stone. (4) The prongs or forks at the end of the props employed by hunters to hang their nets upon. (5) An earthenware vessel used in Roman taverns for holding wine. According to the etymology of the word which in Greek signifies hollow or elbow, this bottle must have been shaped like a retort. (6) The arms or branches of the square used by carpenters and stone masons, which form an angle similar to that formed by the bent arm.

Fig. 21. Roman anchor, from a bas-relief.

Ancora, Gr. and R. (ἀγκύρα, from ἄγκος, a bend). An anchor or piece of iron used to stop a ship. Like those now in use, the ancient anchors were generally furnished with two flukes or arms, but sometimes they had only one. In the latter case they were called terostomos, a term corresponding to our modern blind anchor. A bas-relief on the column of Trajan represents an anchor placed at the bow of the vessel. In Christian archæology the anchor is a symbol of hope; an anchor is frequently met with, among Christian symbols, associated with a fish; the emblem of the Saviour (See Acrostic).

Ancorale, Gr. and R. Literally the cable of an anchor, and then the buoy-rope, or even the buoy itself. The ancient anchors had a ring at the end of the shank to which the buoy-rope was attached. The latter served not only to indicate the place where the anchor lay, but also to drag the flukes out of the ground when the anchor was raised.

Andiron. Iron standards with bars for supporting logs of wood fires, frequently richly ornamented, and sometimes made partly of silver.

Andriantes, Gr. (ἀνδριάντες, images of men). Statues set up by the Greeks in honour of the victors in the public games. This custom dated from 50 Olym., or 584 B.C.

Androgeonia. An Athenian annual festival, in honour of Androgeus, the son of Minos.

Fig. 22. Plan of a Greek house, showing the andron.

Andron, Andronitis, Gr. and Gr.-R. (ἀνδρὼν, from ἀνὴρ, a man). That part of the Greek or Græco-Roman house exclusively set apart for men. Fig. [22] represents the ground-plan of a Greek house; the andron occupies all that part of the building which surrounds the open court, and consists of the apartments numbered 1 to 9. The Romans applied the term simply to a passage separating a house or part of a house from another.

Anelace, O. E. A knife or dagger worn at the girdle; broad, two-edged and sharp.

“An anelace and a gipciere all of silk,

Hung at his girdle, white as morwe milk.”

(Chaucer, Canterbury Tales.)

Fig. 23. Angel of the reign of Elizabeth.