$H Al.

Al. Or El. "God." The nam= e of the supreme deity of the ancient Nabatheans. = He was the universal deity of Pales= tine and Phenicia. (1876c1)

$H Alabarda. Mediaeval

Med. A halberd.(1883= m1)

$H Alabaster <= /span> Stone

Alabaster was used a great deal by the Egyptians for statues, sarcophagi, and vases= of many kinds. The chief quarries were at a place called Hat Nub. There is another quarry in the desert behind Dowadîyeh, on the east bank near Minieh. There is alabaster near Asyût, but it is not sufficiently compact to admit of being quarried for use. (1902b1)

Alabaster. (1.) A name given to a kind of white half‑transparent stone sometim= es veined, which is capable of receiving a high polish, and = is so soft that it can be scratched with the nail. (1891a1)

(2) A calcareous sub= stance of white colour, translucent or semitranspare= nt, and presenting, according to the variety, undulating and continuous veins. The various kinds of ancient alabaster are very numerous; the following m= ay be named; flowered alabaster (alabastro fiorito); golden (dorato); quince coloured (cotognino); eyed (occhii); tortoiseshell (tartaruga); foam‑wh= ite (pecorella); Busca de Palombara (palombara); onyx (onice<= /i>), &c. The Egyptians used alabaster for making statues, phials, panegyric vases, canopea, small figures, and even sarco= phagi; 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 ca= rved figures, and is now used for pulpits and other ecclesiastical purposes. F= alse alabaster is the name given to a gypseous var= iety of this substance, of which there are rich quarries at Volterra, in Tuscany. It is called "Gesso Volterrano," an= d is much used in Italy= for the grounds of pictures. (1883m1)

Alabaster (Gr.), MARMOR ONYCHITES (= Rom.) This is a variety of marble, known to mineralogists as gypsum, of the compact granulous = species plaster of Paris (sulphate of lime) is made. = It is the softest of all stones, being easily scratched by the nail, of uniform= texture, generally white, but sometimes red or grey; is found in large quantities = at the quarries of Montmartre, near Paris, whenc= e the name "plaster of Paris;" in Italy; and in Derbyshire in England= . It is translucent, the degree of transparency varying according to its goodn= ess. Besides the one described above, there is another kind of alabaster, so c= alled, the STALACTITE; but this is a carbonate of lime, identical in chemical co= mposition with statuary marble. It is easy to ascertain of which kind of alabaster a vessel is composed, for carbonate= of lime is hard, and effervesces if it be touched by a strong acid, such = as sulphuric or muriatic; = but the sulphate of lime does not effervesce with these acids; besides, it is soft, and, in f= act, it is to this kind only that the term alabaster is properly applied. Many= of the ancient vessels used for holding perfumes, &c., are made of STALA= GTITE, the compact crystalline mass deposited from water holding carbonate of li= me in solution, of which many springs are found in almost every country. * The most beautiful alabaster = (called GESSO VOLTERRANO, much used in Italy for the grounds of pictures) is foun= d at Volterra, near Florence, where it exists in g= reat quantities, and whence it is exported in large blocks. The softness of alabaster renders it easy to work, and instead of the mallet and chisel, sharp iron instruments used, such as saws, rasps, files, &c., the mar= ks of which are removed by polishing. The partiality of the ancients for ala= baster is proved by the use they made of it for their articles of luxury, for columns, and for other ornaments. The Etruscans employed it for burial ur= ns, many of which were found at Volterra. In the = baths of Titus, and in the ancient Roman aqueducts, works in alabaster have been found. Oriental alabaster was of still greater importance in the Fine Art= s: it was quarried at Thebes, and the Egypt= ians executed figures in it.** In= the Villa Albani there was an Isis, larger than l= ife, seated with Horus on her knee; and in the Mus= eum of the College at Rome is a smaller sitting figure, both of which are of alabaster. Many ancient vases of ornamental alabaster are preserved, one = of the most beautiful of which is among the Antiquities in the Royal Museum at Berlin. Many of the collections in Italy and elsewhere contain Torsos, figures of Hermes, busts with drapery, &= ;c., of alabaster. The Museum at = Dresden possesses several such specimens. The classic nations appear never to have any kind of alabaster; the extremities (head, hands, and feet) were of ma= rble or bronze. A head, wholly of alabaster, is preserved at Rome. Crystalline and granular gypsum= (sulphate of lime) is burned and ground to prepare p= laster of Paris. Moulds and statues are formed from this valuable material, and = also a very strong cement for the use of sculptors and masons to form the close joints of marble; it is also much used by plasterers, particularly for mouldings and foliage.

*<= /span> Many of the var= ieties of the Stalactite alabaster are mentioned in descriptions of museums, &am= p;c. Among the most important ALABASTRO COTOGNINO (quince), from its resemblance to the col= our of that fruit. ALABASTRO DORATO, of which there are many kinds, such as <= span class=3DSpellE>dorato a rosa<= /i>, dorato a nuvole, &c. ALABASTRO ERBORRIZZATO, in which resemblances of trees, plants, &c., are strongly marked. ALABASTRO FIORITO, a striped variety, in wh= ich the lines are of every possible colour. ALABA= STRO A PECORELLA, from the resemblance the white blotches upon a red ground bear= to a flock of sheep. ALABASTRO POMATO, a dapple-grey variety. All these, and many other varieties, are described in Head's Rome<= /st1:place>, Appendix, vol. i. (1855f1)<= /p>

** Alabaster is said to derive its name from Alabastron, a small town in Egypt, where vases, &c. were first manufactured from the rocks near that pla= ce. (1855f1)

--- $H Alabaster, Calcareous.

‑, Calcareous. A variety of carbonate of lime, milky white in colour and veined with yello= w, red, or brown. It is times called oriental alabaster. (1891a1)=

--- $H Alabaster, gypseous.

‑, gypseous. A variety of sulphate of lime = or gypsum, quite white and half‑transparent. It is also called white alabaster. (1891a1)

--- $H Alabaster, Oriental. See Alabaster, Calcareous. (1891a1)=

--- $H Alabaster, White. See Alabaster, Gypseous. (1891a1)

$H Alabaster or Alabastrum. Vase

Alabaster or Alabastrum, (= •8= V$= "F= JD= @<[=3Dalabastron]).

(1) 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.] (1883m1)

Alabaster. (2.) A small vase for holding perfumes, gener= ally in the shape of a pear, and with or without a handle of very small dimensions. Some of the specimens now in museums are Egyptian or Phoenici= an in origin. In certain Greek and Etruscan tombs they have been found made = of onyx. ILLUS.<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'> alabaste (1891a1)

Alabastron. A box, vase, or other vessel, to hold perfumes, formed of alabaster, was called by the ancients alabastron; Horace calls them onychites. The Alabastron is always among the attributes of the Ba= thing Venus. Oriental alabaster was the most sought after for the purpose of ma= king these vessels. The cut (Fig. 1) exhibits a good specimen of a vase of the kind from a bas-relief engraved by Montfaucon= in his elaborate and beautiful work on Classic Antiquities. The name was also applied to oint= ment vases of a pear-like shape, which have no feet; their most ordinary form = is exhibited in our cut (Fig. 2). They are, however, sometimes in the shape = of animals - hares, monkeys, ducks - or of heads = and limbs of the human body. Dennis = * has engraved one in the form of a seated figure of Isi= s. It does not follow from their name that they were always made of alabaste= r; they were sometimes of gold. FIGURE

* Cities and Cemeteries of Etruria, vol. i. p. 427= .(1855f1)

&nbs= p; &nbs= p;

$H Alabastrotheca. Roman

R. (= 2Z= 60[=3Dtheke], a chest). A box or casket containing alabaster flasks or vases. (1883m1)<= /o:p>

$H Alae. Architecture

(Arch.) Wings. In Roman houses the = alae were the two rooms which were placed one on each side of the atrium. (189= 1a1)

$H A la Grecque. Architecture

A la Grecq= ue. (Arch.) <= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'>An archite= ctural ornament employed in rectilineal moulding, wh= ich resembles twisted ribbon. ILLUS. alagrecq (1891a1)

A la Grecq= ue. (Fr.) An architectural ornament resembling a variously twisted ribbon, when it is merely a narrow continu= ous stripe, forming right angles, either raised or cut in, and sometimes only painted. This ornament, called also a labyrinth, may be used for rectilin= eal mouldings. If it be only one stripe, it is called a simple labyrinth; but if two stripes be twisted in= to each other, it is called a double labyrinth.(1855f1) FIGURE

$H Alaguni. $ Hindu

In Hindu mythology one of the four heavenly streams which flow from the palace of Brahma and unite to form th= e Ganges. (1876c1)

$H Alala.

Another form of the name of the goddess Allat. She was one of the forms of Ishtar. (1876c1)

$H Alam.

Alam. "The Shadow," or "The Image." In Babylonian astronomy the name of the deity Marduk as the planet Mercury in the month Chislev. (1876c1)

$H Alamluk. Arabia

King of Saboea= in Arabia. He succeeded Wathil<= /span>, the son of Himyar, and was succeeded by his s= on, Shammir.(1876c1)

$H Alamun.

A district to the north of Assyria, conque= red by Tiglath Pileser I. (1876c1)

$H Aland, Alant. Heraldry

Aland, Alant, Her. A mas= tiff with short ears. (1883m1)

$H Alapa.

The blow on the shou= lder in dubbing a knight. (1883m1)

$H Alaparos. Babylon

Alaparos<= /span>. "Bull of Light?" The second antediluvian king of Babylon= , according to the list preserved by Berosus. (1876c1)

$H Alapi. Assyria

The Assyrian name of the Winged Human-head= ed bulls, which were used to guard the entrances of the palaces, and beings similar to which were believed to have had real existence at the mythical time of Izdubar. They were also called Kirubi, whence the cherubim of Hebrew writers. (187= 6c1)

$H Alatakki.

An Accadian ci= ty the site of which is not known. (1876c1)

$H Alath. Nabataean

In ancient Nabathean<= /span> mythology the feminine form of the local deity Elga<= /span>, which see. (1876c1)

$H Alb. 1. Scandinavia; 2. Costume [See also Albe - Editor]

In Scandinavian mythology the spirit of the night, or the nightmare; the succubus of the Mediaeval writers. (1876c1)<= o:p>

A white ecclesiastical garment, which reached to the heels and was fastened by a girdle. It was the second vestment put on by the priest. From it is deriv= ed the surplice. From the 10th to the 16th century it was richly embroidered= and even ornamented with jewels round the edge. (1891a1)

Alb, Albe. An ecclesiastical vestment of great antiquity, formerly worn by all ecclesia= stics, but now only used in sacred functions. It is of sufficient length to reach the heels, and envelop the entire person of the wearer, and is constructe= d of white linen; but during the middle ages other colour= s than white were worn, and silk also used. It is open in front like a surplice, girded at the loins, with sleeves comparatively tight. In front= , at the foot, embroidery, or ORPHERY-WORK, of a form usually square or oblong= , is attached to the Albe, and at the wrists sever= al enrichments appear; these are called the apparels of the Alb. Many of the figures of ecclesiastics on monumental brasses are represented in Albs.* FIGURE

* = Our engraving of the Alb is copied from Pugin's Glossary of Ecclesiastical Costume.(1855f1)=

$H Alba creta.

Alba creta. Latin fo= r white chalk, a term used by writers on art for gypsum. (1883m1)

Alba creta= . This term, when used by the early writers on Art, sometimes indicates gypsum, at others, white chalk. = (1855f1)

$H Albalista, Arbalest.= A cross‑b= ow. (1883m1) [See Arbalest.]

$H Alban, St.

Earliest British saint. He is represented as carrying his head in his hands. His attributes are a sword and a crown. (1891a1)<= /o:p>

Alban, St., in Christian Art, is represented (as also is= St. Denis,) carrying his head between his hands. His attributes are a sword a= nd a crown. (1855f1)

$H Albani stone.=

A pepper‑coloured stone used in ancient buildings at Rome before the introduction of marble. (1883m1)

Albani Sto= ne (LAPIS ALBANUS). Now called Peperino. A black volcanic tufa, which, as well as t= he harder tufaceuous limestone or sinter or Tibur - the so-called Tiburtinian stone, now Travertino - was much used at Rome before building with marble beca= me common. The Italian name peperino= is derived from pepe, "pepper," which it resembles in colour.(1855f1)

$H Albarium.

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 m= ixture of chalk, plaster, and white marble. (1883m1)

$H Albe. [See also Alb - Editor]

Albe, (albus= , white). An ancient ecclesiastical vestment, common in = old brasses. It was a long white linen gown, reaching to the feet, and secure= d by a girdle. The surplice is an albe with wider sleeves. (Fig. 13.) Fig. 1= 3. Albe. (1883m1)

$H Alberk, for Hauberk.

A cuirass. (1883m1)<= o:p>

$H Albertotype.<= span style=3D'mso-spacerun:yes'>

A process by means of which a photographic plate, when covered by chromate of potash and exposed to the influence of the light, = can be inked like a lithographic stone so as to furnish prints with the roller and printer's ink. (1891a1)

$H Album. Greek & Roman

Album, Gr. and R. (albus, white). A space on the surface of a wall covered with white plaster, upon which were written advertisements or pub= lic 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, praetoris, centuriae, decurionum, judicum, senatorum, &c. (1883m= 1)

Album. A book of plain white paper (as its name implies), for the contributions in literature or Art of such friends= as its proprietor may choose to tax. * In the sixteenth century such books were generally small packet-volumes, carried by students and young gentlemen making the grand tour, to receive the names (generally accompanied by La= tin and other sentences and verses) of the persons they met with on their tra= vels, and of whose temporary acquaintance or friendship they felt proud. Many s= uch books are preserved among the Sloane MSS. in the <= st1:PlaceName w:st=3D"on">British Museum, and contain the only autographs we possess of many celebrated personages.= The modern album is a mere omnium gatherum to lie on the drawing-room table exigeant and obtrusive.

* = Their earliest form was the blank book kept at monasteries to register the name= s or benefactors, and, in that sense, the venerable Bede in the eighth century reminds Bishop Eadfrith that his name was registered in the Album at Lindisfarne. = The earliest specimen in this country is preserved in the British Museum (Cotton MS. Domitian VII.), and formerly belonged to the monastery at Durham.(1855f1)

$H Albus (White).

Albus (White). When this word occurs in the early wr= iters on Art, it appears to signify whi= te lead. (1855f1)

$H Alcarazza. Vase

A name given to porous vessels used as water‑coole= rs. They are found in Egypt, Asia, Spain, &c. In the present day they are manufactured in large numbers in Egypt and are rarely used twice, as their cost is trifling. (1891a1)=

$H Alcato. Costume

Alcato. Arab. In armour, a = gorget. (1883m1)

Alcato. A protection for the throat, used by the Crusaders, probably of the nature = of a gorget of mail. (1855f1)

$H Alcazar. Architecture

(Arch.) A fortified palace of the Moorish kings. The alcazars of Cordova, Seville, and S&e= acute;govie may be quoted as models of their kind. In our time the name of alcazar is given to certain theatres, music‑h= alls, and other modern constructions of pseudo‑Arabian design, the decora= tion of which is set off by brilliant illumination. (1891a1)=

$H Alcohol.

Alcohol, or SPIRITS of WINE, enters into the laboratory of the artist, as a solvent of resins in the preparation of varnishes, &c. On adding water to a solu= tion of resin in alcohol, the resin is precipitated; advantage of this is take= n to render gamboge serviceable in oil-painting. This gum-resin is mixed warm = with strong alcohol, and, after it is dissolved in it, rain or boiled water is added, which precipitates the resin in a pure state. The object of this process is to remove the gum, and so render the resin fit for oil-paintin= g. (1855f1)

$H Alcora pottery (See DENIA.) (1883m1)

$H Alcove. Architecture

Alcove. A niche or recess in a room.(1883m1)=

Alcove. (Arch.) A = part of a room, often richly decorated, for the reception of a bed, which can be entirely concealed by means of folding doors or curtains, so arranged that the room does not lose its rectangular shape.(1891a1)

Alcove. A = niche for a seat or a statue, whose ground-plan is generally the segment of a c= ircle. A recess in an apartment sometimes raised beyond the ordinary level, and = used for a couch, for retirement, or for State occasions. (1855f1)

$H Aldebaran.

A bright star in the eye of the constellat= ion "the Bull." It was adored as a divinity by the people of Sabaea. (1876c1)

$H Aldobrandini, Marria= ge.

R. A celebrated fres= co from the gardens of Mecaenas, discovered at Rome near the church of Santa Maria Maggiore<= /span>, whence it was conveyed to the villa Aldobrandini, and afterwards sold to the Borghese family. T= his painting which indisputably dates from the reign of A= ugustus, consists of a group of ten figures, representing, according to some, the marriage of Peleus and T= hetis; and according to others, that of Manlius and Julia. (1883m1)

$H Alençon, Poin= t 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, a= nd in England is known as needle‑point. (Fig. 14.) Fig. 14. Point d'Alençon.<= /span>(1883m1)

$H Alerion. Heraldry

Her. An eagle, in ea= rly Her., represented without feet or beak. (See EAGLE.)(1883m1)

$H Ale‑stake.

In the middle ages t= he roadside ale‑house was distinguished by a stake projecting from the house, on which some object was hung for a sign. (1883m1)

$H Ale= xandria. Egypt

The modern name of the city which took the place of the Egyptian city and nome of Sai Mehit. It was found= ed by Alexander the Great, B.C. 332, and rapidly increased in importance till i= ts wall became six miles in circumference. It contained the tomb of Alexande= r, the state palaces of the Greco-Egyptian Ptolemies, a museum, temple of Serapis, and one of the largest libraries of the ancient world. Its harbour with its pharos or lighthouse, which was 55= 0 feet high, was unequalled; and the trade of the city extended to the whole of = the Roman Empire. Alexandria suffered severely in the wars between Julius Caesar and Pompey; was nearly ruined by an earthquake, in A.D. 365, in which 60,000 persons perished, a= nd was captured, and its library and public buildings destroyed, by Amru, the general of the Saracen Caliph Omar, on the twenty-second of December, A.D. 640. (1876c1)

$H Alexandrinum.= Roman

Alexandrinum (opus), R. A kind of mosaic employed especially for the pavement of rooms. The distinc= tive feature of these mosaics is that the lines or figures composing the desig= ns 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. (1883m1)

$H Alexandroschoene.

The Greek name of the Phenician town which was called by the natives Ous, whi= ch see. (1876c1)

$H Alexia, St.

The patron saint of pilgrims and beg= gars, is represented in a pilgrim's ragged habit. His attributes are a dish and= a palm. (1891a1)

$H Alexikakos (Apollo).=

Another name of the celebrated statue generally called the Belvedere Apollo; from Nero's vill= a at Antium. (1883m1)

$H Alexis, St.

Alexis, St. The patron saint of beggars and pilgrims. In Christian Art he is usually represented in a pilgrim's habit and staff; sometimes as extended on a mat, with a letter in his hand, dying. St. Roc= h is also represented as a pilgrim, but he is distinguished from St. Alexis by= the plague spot on his body, and in being accompanied by a dog. (1855f1)

$H Alfader. Scandinavia<= /st1:place>

Alfader. "Father of all." In Scandinavian mythology the name of the Supreme Being, as the creator of gods, giants, = and men. (1876c1)

$H Algat. Egypt

The Egyptian name of an unidentified Asiat= ic country. (1876c1)

$H Algaroth powder.

An ingredient in the manufacture of an Antimony white pigment. (1883m1)

$H Algum.

A precious wood, much referred to in Hebrew and Egyptian history. It was probably the camphor w= ood of modern carpentry. (1876c1)

$H Alh= ambra. Architecture

(Arch.) Palace of the Moorish kings at Granada, the interior walls of which = are decorated with extraordinary profusion. The courts of Abencerages and of the Lions, surrounded by porticoes and marble colonnades, have a legendary celebrity. The name is given to modern constructions intended to serve as theatres or music‑halls. (1891a1)

$H 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.) Fig. 1= 5. Alhambraic ornament. (1883m1)

Alhambraic= . A term applied to a school of ornamental art, which is based on the decorations = of the Alhambra, the famous Moorish palace erected at Granada (A.D. 1348.) This style is remarkable for the elaborative complexity and variety of its details, in which all living forms are omitted, and vegeta= ble or floral ones so far modified as to distantly resemble nature. It is susceptible of strongly marked colour, and rich metallic elaboration; and, though gaudy in principle, was so far subdued by the true taste of the be= st artists who invented it, that the positive colours and bright gilding, be= ing combined in small portions only, blend into one harmonious and rich effec= t. (1855f1)

$H Ali. Scandinavia<= /st1:place>

Ali. Or = Wali. In Scandinavian mythology the son of Odia and Rindr. He slew the wicked giant Hödhr, to avenge the death of the beautiful Baldur, the beloved of g= ods and men. (1876c1)

$H Alicula. Roman

R. A kind of large m= antle, furnished sometimes with a hood. The term is derived from the Greek –884>[=3Dallix], the nam= e given to the Thessalian chlamys. (See CHLAMYS.) (1883m1)

$H Alidade.

A flat rule of metal provided at each end with plates of copper placed at right angles to the rule. These plates are pierced with longitudinal openings, across which a thread of silk it stretched vertica= lly. The alidade is placed on a table, and a ray of light passing through the = two threads serves to determine a direction. ILLUS. alidade (1891a1)

$H Alignment.

A series of menhirs (q= .v.) or blocks of stone placed in two or more parallel lines, several examples= of which exist in Brittany and elsewhere. ILLUS.<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'> alignmen (1891a1)

$H Alilat.

An ancient Arabian goddess. She was possib= ly a form of the moon. (1876c1)

$H Alithina, or = Verantia.

Alithina, = or Verantia, according to Theophilus, was the true red of the Byzantines. (1855f1)

$H Alizarin.

Alizarin, the colouring principle of the madder. (1883m1)