$H Allabra.
|
A kingdom near |
$H Allah.
|
Allah. "God." The ancient as well as modern name of the Supreme Deity among
the Arabs of the |
$H Allah Taala.<= span style=3D'mso-spacerun:yes'>
|
Allah Taala.
"The Supreme God." An ancient title of the Deity among the pre-=
koranic Arabs. (1876c1) |
$H Allamu.
|
A Chaldean nam=
e of
the deity Nergal, which see. (1876c1) |
$H Alla Prima or Alla-Prima. Painting
|
Alla Prima. (Paint.) When a picture is painted at once without
retouching, it is said to be executed "alla
prima." This method was followed by the Van Eyc=
ks
and early Flemish painters, and later on by Rubens. In more modern times =
a good
example of the method is Wilkie's "Preac=
hing
of John Knox." (1891a1) |
|
$H=
Alla-Prima. * (Ital.) AU PREMIER COUP. (Fr.)
A method of painting in which the pigments are applied all at once to the canvas, without <=
span
class=3DSpellE>impasting or retouching. Some of the best pictures =
of the
great masters are painted in at once by this method, but it requires too =
much
knowledge, skill, and decision to be generally pract=
ised.
* =
The
method of Prima Painting la fully described in The Art of Painting Restored, by L. Hundertpfund. |
$H Allat.
|
An Arabian goddess, worshipped at the town=
of |
|
An Assyrian goddess, one of the many forms=
of Ishtar, called "The Queen of the Spear," =
or "Divining
Rod." The month Abu, or July, was sacred to her. (1876c1) |
$H Allecret or Hallecret. Costume
|
Allecret or Hallecret. A light armour for cavalry and infantry, consisting of a breastplate and tassets (or gussets), 16th century. (1883m1) |
|
Allecret.
(Cost.) A light plate armour worn in the 16th century by French light cav=
alry
and German and Swiss infantry. ILL=
US. allecret (1891a1)
|
|
Allecret
(Hallecret). A light armour for light cavalry and infantry, consisting of=
a
breast-plate and gussets, which reached sometimes to the middle of the th=
igh,
and sometimes below the knees. It was much used in the sixteenth century,
particularly by the Swiss soldiers, who are commonly depicted in it in
paintings and prints of that period. The engraving is a copy of a figure =
in Meyrick's
celebrated armoury, at
|
![](3D"all_files/image009.gif")
![](3D"all_files/image010.gif")
$H Allege. Architecture
|
(Arch.) A very thin wall closing the lower compartment of
Gothic windows. In the 15th century these leaning‑places are often
decorated by arcades, and in the 16th century =
by bas‑reliefs
or systems of ornament, in the centre of which is a scroll flanked by fig=
ures
of children. ILLUS.<=
span
lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'>
|
![](3D"all_files/image011.gif")
$H Allegorical Pictures
|
Allegorical
Pictures are of two kinds: the one comprehends those in which the artist
unites allegorical with real persons, and this is the lower rank of
allegorical painting. Such are those of Rubens, in the Gallery of the |
$H Allegory.
|
Allegory in art, is allegorically represented as a female figure veiled. (1883m1) |
|
A name given to groups or figures painted or sculptured,
which represent symbolic personages. For instance, we speak of an allegor=
y of
justice, an allegorical figure of youth. (1891a1) |
|
Allegory. =
Properly,
a figure having another meaning besides the visible one; therefore, in a
general sense, the intentional notification of a thing by means of another
resembling it; in a more limited sense, the declaration of an abstract id=
ea by
means of an image, - the rendering general ideas perceptible to the sense=
s. Every
Allegory has a double signification - a general and a particular; the for=
mer
refers to the usual meaning of the signs chosen for the representation of=
an
object; the latter is a higher and concealed meaning which is to be
discovered, and being the comprehension of the intellectual in the sentie=
nt,
is the foundation of Allegory, and the result of creative phantasy. Conse=
quently,
Allegory may be made use of in poetry, rhetoric, painting, and the plasti=
c Arts.
The ancients were particularly fond of Allegory; and the simplicity and
fitness of their ideas have not been equalled by any moderns. A happy
instance may be cited in the figure of the Nile, who is represented in the
famous antique group surrounded by little genii to typify his fecundity; =
one
is throwing a veil over the urn, to show that his source is unknown; and =
another
measures his foot, to indicate his size and importance. As belonging to t=
he
Fine Arts, it is essentially different to the Allegory as a figure in
rhetoric; the latter is not a whole, but simply a part, not the end of the
poet and rhetorician, but a means to that end. Allegory, in Art, is a who=
le,
existing in itself, the end of the artist, and complete without farther r=
eference.
It is for this reason seen in most perfection and utility in gems and coi=
ns,
which require terse and epigrammatic delineations of the object or circum=
stance
they design to commemorate, giving the emblem
in preference to the reality.=
Allegory,
in Art, is also distinct from an emblem; the aim of the latter refers to =
the intellect,
acting thereupon, to make abstract ideas and general truths visible, and
thence evident to the understanding; Allegory, in Art, has a different
meaning; the ideas which it represents ought, of course, to be acknowledg=
ed,
but its great aim is beauty of form, and, by rendering it perceptible to =
the
senses, to excite a feeling of love to the idea (EMBLEM). Allegory expres=
ses
a fanciful state of the mind when the imagination calls up all its treasu=
res
to explain an idea by means of suitable representations, and it is perfec=
t in
proportion to the identity of its forms and images, and to the beauty of =
the
collateral circumstance which we annex to the principal idea. The feeling=
of
the beautiful must ever be the principal effect of allegorical representa=
tions.
The accessory parts of an allegorical figure, which directly or indirectly
convey its intellectual or moral meaning, or contribute to its better exp=
ression,
are ATTRIBUTES; these are either =
essential
or probably; the former produ=
ce the
recognition of the allegorical figure according to its true meaning, and,
when founded on resemblance or analogy, are called symbolic, but, when merely the accidental union of certain im=
ages
with certain ideas, conventional<=
/i>.
Thus, the scales of Justice, the sceptre or club of Power, the serpent and
mirror of Prudence, the breasts of Nature, the poppy of Sleep, the finger=
on
the mouth of Harpocrates (Horus), are all symbolical. The cap of |
$H Allerions. Heraldry
|
(Her.) Small birds without claws or beaks, represented in
the attitude of eagles displayed. Heralds apply the term allerions only to eaglets. ILLUS. allerion (1891a1)
|
![](3D"all_files/image012.gif")
$H All Halowes or All <= span class=3DSpellE>Hallowes. Old English
|
All Halowes or All Hallowes. O.E. for All Saints. (1= 883m1) |
$H Alloys of Gold.
|
Gold is found alloye=
d with
various metals, never without silver, often with copper, iron, or other
substances in small quantities, and sometimes with mercury, when it is ca=
lled
an amalgam. Gold alloyed with
silver is called native gold.=
See
ELECTRUM. (1883m1) |
$H Allouyère.
|
Fr. (Lat. al=
loverium). A purse or pouch often carried at the girdle, =
for
holding papers, jewels, and money. (1883m1) |
$H Allu. Egypt
|
The Seven Stairs to the abode of Osiris, which are mentioned in one of the mystical
chapters, the CLXIVth, of the Ritual of the D=
ead.
(1876c1) |
$H Allul.
|
One of the twelve Stars of the West in |
$H Allume Scagliuolo.
|
Allume Scagliuolo. (Ital.=
) A kind of stone resembling talc, of w=
hich,
when calcined, is made the gesso =
da oro,
or gesso of the gilders, and which is also used for the grounds of pictur=
es.
Heat renders it opaque like gesso, and causes it to split into layers. It=
has
been observed that this was probably the pigment called alumen by Eraclius. (1855f1) |
$H Alluph.
|
The chief of one of the Edomite
tribes. There were originally ten. These chiefs were called dukes by the
Hebrew writers. (1876c1) |
$H Allusion.
|
Allusions =
are
either real or metaphorical; the former consist in a slight hint of somet=
hing
not to be expressed, but which is to be present to the mind: it depends
greatly on the imagination. Metaphorical allusion approaches more to
comparison, and is the offspring of the understanding. We make use of both
kinds in the plastic Arts. Thus Göethe says of Abraham, in Raphael's
"Dispute of the Sacrament," that "the flowing tears and the
grief which he tried to restrain are a beautiful allusion to the sacrifice of Isaac. Obedience and subjection =
to
the will of God are in this manner more nobly expressed than they could h=
ave
been by the repellent object of the victim." This is an example of r=
eal
allusion. In Correggio we find many instances of metaphorical.
"Correggio has sometimes by accessories hinted at the characters of =
his
personages; thus the white hare in the so-called 'Zingarella' or Gipsy, a=
nd
the goldfinch in the 'Marriage of St. Catherine.'" The presence of s=
uch
shy animals, and their forgetfulness of fear, is intended to enhance the =
idea
of innocence and purity in the figures represented, and to denote the rep=
ose
and quiet of the scene. The artist cannot exercise too much prudence and
moderation in the use of allusions, particularly metaphorical; since
unimportant allusions, which too easily present themselves,
disturb the course of ideas and proper frame of mind.(1855f1) |