$H Almakah.
|
A principal deity of the Himyarites
of South-western |
$H Almaore, Almagra.
|
Almaore, Almagra.
(Span.) A red earthy pigment,
probably a variety of haematite. (1855f1) |
$H Almayne Rivets.
|
Almayne Rivets were originally overlapping plates of armour, but subsequent=
ly
gave their name to complete suits of armour thus fastened. (1891a1) |
|
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. (1883m1) |
|
Almayne Rivets. * Overlapping plates of armour for the lower part of the body, similar to t=
hose
seen upon the thighs of the Swiss soldier engraved in page 14; they were =
held
together by rivets, and invented in Germany, whence its name. * They were introduced in the
seventeenth century. Skelton's engravings of the Good=
rich
Court Armoury furnishes our authority =
for a
representation of this improvement in ancient armour=
.
The rivets, by moving in the slits, allowed of freer motion to this defence than it had before. The upper cut exhibits =
the
outer appearance of three overlapping pieces of plate-armour,
with the studs which held them together. The lower cut shows the inner si=
de
of the same plates, and the mode in which the rivets were secured, which
could move, but not slip, in the open slits they passed through. <=
span
style=3D'font-size:12.0pt;font-family:Arial'>FIGURE * =
Almayne being the mediaeval word=
for
|
![](3D"alm_files/image025.gif")
$H Almelon, of Sippara. Babylon
|
The third antediluvian king of |
$H Almery, Aumery, or Ambry. Architecture, Christian
|
Almery, Aumery,
or Ambry, Arch. Chr. A niche or cupboard by t=
he
side of an altar, to contain the utensils belonging thereto. (1883m1) |
|
Almery. (Arch.) A cupboard near the altar, in which were
placed the chalices, basins, cruets, and 'other sacred utensils. It was
either in the thickness of the wall or was made of wood. (1891a1) |
|
Aumbrie, Aumery, Almery. O.E. A cupboard or closet. (1883m1) |
$H Almond. Christian
|
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 PI=
SCIS
(q.v.). The term of mystical almo=
nd
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. (1883m1)=
|
|
Almond. An elliptical aureole which surrounds the
representation of divine figures in the works of early painters or in Got=
hic
glass‑work. This almond is also termed a "gloria," or an "elliptic aureole." <=
/span>ILLUS. almond (1891a1)
|
![](3D"alm_files/image026.gif")
$H Almond Shells.
|
Almond She=
lls,
when burnt, yield a black pigment. It does not appear to be used in the A=
rts
at the present time. (1855f1) |
$H Almonry, Almonarium. Architecture, Christian
|
Almonry, Almonarium,
Arch. Chr. A room where alms were distributed=
. (1883m1) |
|
Almonry. (Arch.) A room in monastic buildings used for t=
he
distribution of alms. (1891a1) |
$H Almoshtari. <= /h1>
|
The planet Jupiter. He was adored as a
divinity by the ancient Arabians. (1876c1) |
$H Almuce, Aumuce, Ame= ss. Christian, Costume
|
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.) Fig. 1= 6. Almuce. (1883m1)
|
|
Almuce. (Cost.) A hood of fur, which was worn by the cle=
rgy
from the 13th to 15th century during the recital of the divine office. As=
an
ecclesiastical vestment it had little or no significance. Indeed, its pri=
mary
object was to shield the officiating priest from cold. It was also worn by
bachelors of canon law, and, according to Planch&eac=
ute;,
in later times by ordinary laymen. ILLUS. almuce (1891a1)
|
|
Almuce, Amess,
Aumuce, (ALMUTIUM, Lat.) A furred hood, worn round the neck, having long ends,
hanging down the front of the dress, something like the stole, and which =
was
worn by the clergy from the thirteenth to the fifteenth centuries, for
warmth, when officiating in the church during inclement weather. Its usua=
l colour was =
grey;
sometimes white and spotted. * It
could be thrown over the head when circumstances required it. It was not a
necessary part of ecclesiastical costume, like other officiating vestment=
s;
and is sometimes worn by bachelors of canon law, in whom it is really a
distinctive dress. It is sometimes seen with a row of small tails round t=
he
cape, and pendant from the lower ends. FIGURE * =
It is
very clearly shown in the above cut, from Waller's excellent work on sepu=
lchral
brasses.(1855f1)
|
![](3D"alm_files/image027.gif")
![](3D"alm_files/image028.gif")
![](3D"alm_files/image029.gif")
$H Alo. Egypt
|
The Egyptian name of an unidentified city =
in |
$H Aloa, or Haloa. Greek
|
An Attic festival, in honour<= /span> of Demeter and Dionysus. (1883m1) |
$H Alohnim.
|
Alohnim. "The Gods." The name of a group, =
or
possibly triad, of Sidonian divinities, to whom temples were erected by
Eshmonazer II., king of |
$H Aloring, Alur or A= lurde. Old English
|
Alur, Aloring, or Alurde, &c., O.E. Parapet wall. (1883m1) |
$H Aloros. Babylon
|
Aloros. "Ram of Light?" The first antedilu=
vian
king of |
$H Alostel. Old English
|
O.E. A cry of herald=
s at the
close of a tournament, ordering the combatants to quit the lists and reti=
re
to their lodgings. (1883m1) |
$H Alozza. Arabia
|
An ancient Arabian deity, who was worshipp=
ed
at Nakhla, near |
$H Alpan. Etruria
|
An Etruscan goddess, who waits upon Turan or Venus. She is winged, with earrings and
necklace, and two palm-branches, which she strikes together. She may be
compared with the Greek Graces. (1876c1) |
$H Alpanu. Or Alpnu. Etruria
|
An Etruscan goddess, with coronet, earring=
s,
tunic, and mantle, and a star behind her head, who
is represented on one mirror as embracing the goddess Akhuvitr,
on another as embracing the goddess Thanr, an=
d on a
third as attracting the love of a youth called Famu<=
/span>.
(1876c1) |
$H Alpha and Omega. Christian
|
Alpha and Omega. Chr. (=
–8=
N"[=3Dalpha] and =
é:=
X(=
"[=3Domega]). 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. (1883m1) |
$H Alphabet. Egypt
|
See HIEROGLYPHS. (1902b1) |
$H Alphege, St.<= span style=3D'mso-spacerun:yes'> Christianity
|
An English saint who suffered martyrdom at the hands of =
the
Danes in 1012. He is represe=
nted
as a middle‑aged man with a battle‑axe, or a chasuble contain=
ing
stones, as emblematic of his martyrdom. (1891a1) |
$H Alswidr. Scandinavia<=
/st2:place>
|
Alswidr. "Swift." In Scandinavian mytholog= y the name of one of the two horses of the sun. (1876c1) |
$H Alt. Egypt
|
The Egyptian name of a simple chain or
necklace. It must not be confounded with the official collars called Uskh or Mna, which see.
(1876c1) |
$H Altaegu.
|
A city in |
$H Altakhsas.
|
The Egyptian form of the Persian royal nam=
e Artaxerxes. (1876c1) |
$H Altar.
|
Altar. A kind of pla=
tform 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.) (1883m1) |
|
Altar. |
|
Altar. The altar of an ancient temple was a table of stone or
marble, on which the offerings to the presiding deity were placed, or a
pedestal decorated with bas‑reliefs. The altar of the Christians is=
a
consecrated table, which was in theory the tomb of the martyrs, and at wh=
ich
the priest celebrates the mass. Druidical monuments,<=
/span>
too are as a matter of fact altars erected for the offering of human
sacrifices. The altars of the 11th, 12th, and 13th centuries are quite
simple. In the Gothic period the altar took the form of a small edifice
elaborately adorned with screens, pinnacles, and gables. At the Renaissan=
ce
it assumed the form of the entablatures of the classical orders, while in=
the
17th and 18th centuries it developed into a portico with pediments, brack=
ets,
and volutes, and was sometimes entirely gilded. In
|
|
Altar. In Ancient Art, the altar was us=
ually
a construction upon which sacrifices were made to a divinity. Among the
Greeks and Romans the altar was formed of a square, round, or triangular
pedestal, ornamented with sculptures, bas-reliefs, and inscriptions, upon
which incense was burned, and that portion of the victim which was consum=
ed.
The most ancient altars were polished four-cornered stones, others were
either square, oblong, triangular, or circular; those of metal were gener=
ally
in the form of a TRIPOD, and could be taken to pieces, and thus were rend=
ered
easily portable. There seems to have been no fixed rule as to their heigh=
t, for on bas-relief=
s we
find them sometime scarcely as high as the knee, and at others half as hi=
gh
as a man; the circular altars were the highest, in fact, some are scarcel=
y to
be distinguished from pillars. At festivals the altars were decorated with
the leaves and flowers sacred to their respective gods, and these decorat=
ions
served as patterns for the beautiful ornaments we see on those altars whi=
ch
have been preserved. On these the heads of victims, paterae, vases, and o=
ther
vessels of sacrifice are entwined by festoons of various kinds. Some alta=
rs
had simply an inscription, telling when and to whom they were decorated; =
but
the most beautiful are those having bas-reliefs. On some altars are
represented the figures of the gods to whom they are dedicated, such as t=
he
three altars found at Nettuno, near the port of Antium. Sometimes the alt=
ar,
as with the Hebrews, was a votive monument, erected in the open air, and,
among other purposes, to commemorate some extraordinary event attributed =
to
Divine interference. The annexed woodcut represents the predominating for=
ms
of early altars, whether circular or square, and are copied from Roman
originals. In Christian Art, =
the
altars of our ecclesiastical edifices bear no resemblance to those of the
heathens, because the sacrifice to which the former are appropriated, the
Lord's Supper, was instituted by the Saviour, and therefore the type of t=
heir
form is a table, and their covering was intended to represent a table-clo=
th;
but it resembles the ancient orders in the diversified forms of the base.=
It
is frequently in the form of a sarcophagus, because the early Christians =
assembled
in the catacombs, offered the holy sacrament on the tombs of martyrs, whe=
nce
also was derived the custom of placing upon the altar the relics of saint=
s.
In the primitive church, the altars were constructed simply of wood,
subsequently of stone, marble, and bronze, adorned with rich architectural
ornaments, sculptures, and paintings, and the altar-piece was generally
raised on a screen above them, while the altar-plate was in the shape of a
sarcophagus. Upon the decline of the Byzantine style of architecture and =
the
introduction of the Gothic, altar-architecture acquired, through this new
style, a new and exalted character. The Gothic architecture pointed
heavenwards: delicate in single parts, it was magnificent as a whole, and
full of meaning. Symbolic Art was greatly enriched. To the art of paintin=
g we
owe the altarpiece, with its side wings (TRIPTYCH), on which were represe=
nted
the histories of the saints and martyrs to whom the altar was dedicated. =
The
altars of the English churches are, for the most part, utterly tasteless,
consisting generally of an oaken table or stone slab, covered with a white
cloth. The Reformed church does not allow of altars-proper. The desire of
showing respect to the Christian altars by splendour and richness of
decoration has not been attended with success. The most ancient altars in=
the
Basilica at
|
![](3D"alm_files/image030.gif")
![](3D"alm_files/image031.gif")
![](3D"alm_files/image032.gif")
--- $H Altar cards. Christian
|
Portions of the serv=
ice of
the mass printed separately on cards, and placed against the reredos of an altar. (1883m1) |
--- $H Altar‑back. Architecture
|
The wall in which the altar‑piece is set. (1891a1)=
|
--- $H Altar‑cloth or Altar cloth. Christian
|
Altar cloth, Chr. The linen coverings, and
embroidered hangings of an altar. (1883m1) |
|
Altar‑cloth. (Dec.) A rich stuff embroider=
ed
with gold and silk, and sometimes ornamented with precious stones, which =
was
stretched over the altar in the early times of the Church. (1891a1) |
--- $H Altar front. Christian
|
Chr. An antependium (q.v.). (1883m1) |
--- $H Altar‑piece. Architecture [Editor – see Re= table for 1883m1]
|
(Arch.) An altar decoration consisting of a panel, in the
centre of which is placed, according to the period to which it belongs, a=
bas‑relief
or picture. Before the 13th century altar‑pieces were movable, but
after this time they were generally fixed. In the 15th century altar̴=
9;pieces
were often ornamented with extraordinary magnificence, while from the
Renaissance to the 17th or 18th century they were conceived in an archite=
ctural
spirit as porticoes, and were decorated with entablatures and columns,
flanked by niches, in which statues were placed, and terminated by pedime=
nts
and vases. Sometimes they were of sculptured wood, of marvellous workmans=
hip
and completely gilded. 3 ILLUS. altarpi1,
altarpi2, altarpi3 (1891a1)
|
![](3D"alm_files/image033.gif")
![](3D"alm_files/image034.gif")
![](3D"alm_files/image035.gif")
--- $H Altar‑screen or Altar screen. Architecture, Christian
|
Altar screen, Chr. The partition behind the high altar, separatin=
g it
from the Lady Chapel. (1883m1) |
|
Altar‑screen. [Reredos.] =3D Reredos.
(Arch.) The screen at the back of an altar, which is frequently richly
carved, is called the reredos. The term also
denotes an open fire‑=
hearth. (1=
891a1) |
$H Altare. Roman
|
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 alt=
ar.
(1883m1)
|
![](3D"alm_files/image036.gif")
$H Alternation.
|
A system of ornament which consists in the decoration of=
a
surface by means of two distinct =
motifs,
which repeat themselves in succession in the same order. (1891a1) |
$H Alto‑Relievo o= r Alto‑rilievo. Italian, Sculpture
|
Alto‑rilievo (Ital.)
High Relief. See RILIEVO. (1883m1) |
|
Alto‑Relievo |
|
Alto-Rilie=
vo. (Itat.) HIGH RELIEF. Sculpture wo=
rks in
rilievo are divided into bas-rilievo, or low relief, mezzo-rilievo medium relief, and=
alto-rilievo, high relief, accor=
ding
to the degree of projection in which the figures stand relieved from the flat surface of the block from which they a=
re
cut. In each of these the degree varies, but not so much as to entrench u=
pon
the others; the figures are most commonly left adherent to the background;
but in some fine alto-rilievos,
so-called, the figures are entirely cut away from the surface of the bloc=
k,
and are, in fact, BOSSES. The finest alto-rilievos extant are the fifteen=
METOPES
in the collection of the Elgin Marbles in the |
$H Alto‑viola. [See Viola - Editor]
$H Altria. Etruria
|
An Etruscan goddess, answering to the Greek
Graces. She was represented as a nude and beautiful woman, with a crown a=
nd
necklace, and generally in the company of Thalna
and Euturpa (Euterpe).
(1876c1) |
$H Alulu. Egypt
|
The Egyptian name of the grape, and also of
the grape vine. (1876c1) |
$H Alum
|
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 <=
st2:place
w:st=3D"on"> |
|
Alum
(ALUN, Fr., ALAUM, Germ.) This well-known substance performs =
an
important part in many processes of the arts. In combination with animal =
glue
(chondrine)
and with white of egg (albumen), it
forms an insoluble substance, resembling horn; advantage is taken of this
property to produce the so-called KALSOMINE TEMPERA. * Similar to this is the familiar process of rendering unsized paper (such as engravings are printed on)
suitable for the application of water-colour
pigments. One of the most important uses of alum is as a MORDANT in dyein=
g; another, is in the preparation of LAKES, and of CARM=
INE
from cochineal. The common alum of commerce is a double sulphate
of alumina and potash. Other kinds are known to the chemist, in which the
potash is replaced by soda or ammonia. Roche
alum (or roach alum), Roman a=
lum,
and * =
Many
ancient works executed in tempera=
are found incapable of being removed by water. Since both animal glue and
alum were known and used from the earliest times, it is not improbable th=
at
the paintings executed with pigments mixed with a glue medium were washed
after they were finished with a solution of alum. (1855f1) |
$H Alumen.
|
Alumen (Lat.), Greek, (stypteria). Mediaeval writers confused this word with the =
alums.
The name was applied by the classics to several salts of the nature of |
|
Alumen. (Lat.) The name alumen of the Romans, and stypteria of the Greeks, was doubtless applied to several salts of the nature of vitriols, and among them to the natural sulphate of iron (COPPERAS, or GR= EEN VITRIOL of commerce). Alumen was the name formerly given to all the sulphates, but the vitriols have either copper, iron, or zinc, as a base. Alum has for a base the earth al= umina; hence arises some confusion in the works of the mediaeval writers on Art. Thus, Alumen glarum, A. glacie, A. jameni, Alun de gl= ace, were probably only different names for ROCHE ALUM, which was also called = Alun de roche; Allume di rocca. Allu= me catino was carbonate of soda; Allume di feccia, bitartrate of potash, or cream of tartar. Allume di piume, Alun= de plume, Allume scissile, i= s a natural alum, fibrous, and fringed or bearded like feathers, sometimes mi= scalled Amyanthus. (1855f1) |
$H Alur, Aloring, or Alurde. Old English
|
Alur, Aloring, or Alurde, &c., O.E. Parapet wall. (1883m1) |
$H Alura. Architecture
|
(Arch.) A way or passage generally applied to clerestory
galleries or passages on the roof along the gutters. (1891a1) |
$H Alurde, Aloring, or Alur. Old English
|
Alur, Aloring, or Alurde, &c., O.E. Parapet wall. (1883m1) |
$H Alu Sa Accaddi. Assyria
|
An Assyrian generic geographical title,
meaning "Cities of Accad." (1876c1)=
|
$H Alu Sa Irtsitu. Assyria
|
An Assyrian generic geographical title,
meaning "Cities of the Earth." (1876c1) |
$H Alu Sa Napalkutu. Assyria
|
An Assyrian generic geographical title,
meaning "Foreign Cities." (1876c1) |
$H Alu Sa Sumiru. Assyria
|
An Assyrian generic geographical title,
meaning "Cities of Sumir." (1876c1)=
|
$H Alvéole. See NIMBUS. (1883m1)
$H Alveus.
|
Alveus, R. (=
alvus,
the belly). (1) A bath construct=
ed 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 :@<`>L8@<[=3Dmonoxulon]. (4) The hull of a sh=
ip. (5) A wooden trough =
or tray.
(1883m1) |
$H Alzi.
|
A district in the upper Euphrates, which w=
as
usurped by the Hittites till their overthrow by |