$H Am. Egypt

Am. "Devourer." A demon of the Egyptian Ha= des, who is mentioned in the Ritual of the Dead. (1876c1)

Am. The name of the Pehu of the seventh nome of Upper Egypt. (1= 876c1)

Am. An Egyptian palace, meaning more particularly a = residence with a paradisus, park, or garden, as in the East. (1876c1)

$H Ama. Egypt

An Egyptian lady, the daughter of the chief Tesamen,= which see. (1876c1)

A queen-mother of the XIth dynasty. Her place is sup= posed to have been between Mentuhotep III. and Rasanchka. (1876c1)

$H Ama or Amula. Christian

Chr. A long phial for holding the wine presented a= t the altar at the moment of offering. (1883m1)

$H Amabt. Egypt

A class of Egyptian priests. (1876c1)=

$H Amada. Egypt

A town in Nubia, where Amenhotep II. of the XVIIIth dynasty built a temple in honour of the gods Harmachis and Amun, to perpetuate a record of his victo= ries over the peoples of Mesopotamia and Assyria. (1876c1)

$H Amadaai.

The name by which the Medes were known to = the Assyrians under Shalmaneser III. (1876c1)

$H Amadani.

A district of Chaldea= , by the head of the Tigris. It was conq= uered and devastated by Assurnazirpal. (1876c1)

$H Amakh or Amakhou Egypt

amakh or amakhou lit. 'venerable, revered': = an honour entitling the holder to burial at the king's expense. (1894e1)

$H Amakhar.

The king of the city of Kharmisandai, or Harmisanda, on the borders of Assyria, who= paid tribute to Samas Rimmon<= /span>, or Samsivul III., king of Assyria. (1876c1)

$H Amakhou See Amakh

$H Amakhu.

Another name of the city of Sah. It w= as called Hermopolis by the Greeks. (1876c1)

$H Amaliha.

An Assyrian governor, the name of whose district is lost. He was the eponym of the year 782 B.C., the last of the reign of Vulnirari III. (1876c1)

$H Amalika.

An Aramaean or Semitic people. One of the two great nations which formed the early population of Arabia. See Ariba, and Adites. (1876c1)

$H Amam. Egypt

Amam. "The Devourer." One of the mystical monster deities of the Egyptian Hell. (1876c1)

Amam. The Egyptian name for what is usually called the “Devourer.” A composite creature, part lioness, part hippopotamus, part crocodile, frequently depicted seated on= a small pylon. She is figured in the pictures of the judgment before Osiris in the “Book of the Dead,” and o= n the walls at Dêr el Me= dineh. She is called "she who destroys the wicked," and it has been supposed by some that it was her function to devour those who could not s= tand the judgment test. But very little is known on this point. ILLUS. Amam. (1902b1)

$H Amamas.

The king of Kingü= ;stilinzamar, or Cingistilinzakharai, a district bordering = upon Assyria. He was rendered tributary by Samas Rimmon, or Samsivul III. king of Assyria. (1876c1)

$H Amana.

A Syrian town, near to the Lebanon range of mountains in Upper Palestine. See Ammana. (1876c1)

$H Amanus.

The modern name of = Mount Hamanu, from whence Shalmaneser II. obtained timber for his buildings in Assyria. (1876c1)

$H Amar. Or Amaur.

The Egyptian name of the country of the Amorrheans. (1876c1)

$H Amaragu.

Amaragu. "Effulgence of Agu." An early Acc= adian monarch. See Agukakrimi. (187= 6c1)

$H Amardaki.

The Accadian n= ame of the city which was called by the Assyrians Marad. Its site is not well known. (1876c1)

$H Amari.

An Ethiopian people, who were conquered by= Rameses III. of the XIXth dynasty. (1876c1)

$H Amarsin.

An early Babylonian monarch who reigned at= Ur. (1876c1)

$H Amarud. "The Circle of the Day."

The Accadian n= ame of the deity Marduk, the son of Hea. See also Silikmulukhi. (1876c1)

$H Amasette or Amassette. Painting

Amassette. Fr. An instrument of horn used for spreading = colours on the stone in the process of grinding. (1= 883m1)

Amasette. (Paint.) The amasette was an instrument of wood, ivory, or horn,= with which the painters of the last century mixed their colours on the palette. Nowadays the palette‑knife is generally used for this purpose. (189= 1a1)

Amassette.= (Fr.) An instrument of horn, with= which the colours are collected and scraped together on the stone during the pr= ocess of grinding. (1855f1)

$H Amashtoreth. =

Amashtoreth. "Mother of Ashtoreth." A Prie= stess of the goddess Ashtoreth at = Sidon. She was the wife of Tabnith, king of Sidon, and the mother of Eshmonazer II. (1876c1)

$H Amasis.= Egypt

The Greek form of the Egyptian royal name = Aahmes, or Ahmes, which= see.

Amasis II. See AAHMES-SE-NIT. (1902b1)

$H Amatito. Painting, Italian

(Paint.) A pigment prepared from red haematite and used = by early artists in fresco‑painting. (1891a1)

Ital. Lapis Amatita. Amatito is the= soft red haematite, and is called also matita rossa. Lapis amatita is the compact red haematite, 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 haematite of mineralogists. (Fairholt.) (1883m1)

$H Amateur.

Amateur. One= who, though he does not practise any branch of the fine arts, has a taste and feeling for them. The word is sometimes used in a contemptuous sense to denote an unskilled artist. (1891a1)

Amateur (F= r.), AMATORE (Ital.) One who has a= taste for, a skill in, and an enlightened admiration of, the Fine Arts, but who does not engage in them professionally. Such are honorary members of academies of painting, &c. (1855f1)

$H Amatito.

Amatito (Ital.), LAPIS AMATITA. Amatito is the soft red haematite, and is called also matita,= matita rossa. Lapis amatita is the compact red haematite, and is also called in Italy * mineral cinnabar, and in Spain, albin. When this word occurs in the works of the early writers on Art it probably indicates red ochre, the red haematite of mineralogists.

*<= /span> Baldinuoci, Vocabulario. Tosc. Disegno. (185= 5f1)

$H Amatnim.

An early Babylonian king, the predecessor = of Sargina or Sargon II. Nothing else is known respect= ing him. (1876c1)

$H Amatu.

A people in Mesopotamia, who were conquere= d by Tiglath Pileser I= I., king of Assyria. (1876c1)=

$H Amazons.

A race of f= emale warriors, the myths concerning whom were often illustrated by Greek artists. They are frequently represented on painted vases as habited in Persian or Scythian dress and wearing a Phrygian cap. They are always armed, carrying a bow, spear, sword, or battle‑axe = as well as a shield, which is sometimes round, sometimes crescent shaped. Th= ey were also a favourite subject with sculptors, and Pliny tells us of a competition between Polycleitus, Pheidias, and three other sculptors for a figure of= an Amazon. The cut here given is said to be a copy of the statue produced on that occasion either by Polycleitus or Pheidias. The battle between T= heseus and the Amazons is figured in the well‑known bas‑reliefs from= the Temple = of Theseus, while that between the Amazons and Centaurs is to be seen on the Phigaleian frieze. Both these series of bas‑r= eliefs are at the British Museum. ILLUS. amazons (1891a1)

Amazons. A fabulous race of female warriors, frequently represented in Ancient Art. = The legend of their existence was founded on the worship paid to the moon by priestesses and eunuchs in the countries lying on the eastern coasts of t= he Black Sea. As the eunuchs represented the female = sex in the male form, so the amazons were the male sex in the female form. Poeti= cal sagas speak of them as a strong, brave nation of females, and place them beside their historical heroes; but these sagas evidently point to the symbolic religious customs of a warlike people in the Caucasus, who represented the goddess of the moon as armed, and paid her honour by war-dances, thus explaining the warlike appearance of the Amazons. The Gr= eeks believed these people to exist near the present city of Trebizond, dwelling on the banks of t= he river Thermodon. The Amazons fought on horseback, carrying small crescent-shaped shields, a bow, quiver, spear, and battle-axe. They were = reported to cut off the right breast, to give greater freedom to the use of the bo= w. Grecian Art has touched the myth of the Amazons in its moat heroic sense; representations of Amazonian battles are to be found on bas-reliefs, vase= s, and in wall-paintings, where we find these warriors with their crescent-s= hields and military girdles, sometimes clothed in the Asiatic costume (particula= rly on vases), at others in the simple Doric, and sometimes even their dress = is a union of these two. Our engraving represents a statue in the Vatican<= /st1:place> of an Amazon, probably the work of Phidias. An Amazon on horseback, found= at Herculaneum, is preserved in the Museo Borbonico, = at Naples. In the <= st1:place w:st=3D"on">Gregorian Museum is the renowned "Ama= zonian Vase." But the finest series of bas-reliefs connected with their fabulous history are those which commemorated the battle between themselv= es and Theseus, formerly in the Temple at <= st1:City w:st=3D"on">Athens, and now among the Elgin Marbles in the British Museum. The Phigaleian Marbles, = in the same collection, represent the battle between the Amazons and Centaurs. <= /span>FIGURE(1855f1)

$H Ambaris.

Son of Hulli, = or Xulli, king of Tubal. He succeeded his father by the favour of Sargon = II., notwithstanding which he revolted against the king of Assyria, who had ev= en given him his own daughter in marriage, with the <= st1:PlaceType w:st=3D"on">province of Cilicia as a dowry. E= nraged at such conduct, Sargon attacked Ambaris afte= r a delay of some years, and sent him into slavery. (1876c1)

$H Amber.

Amber. A substanc= e washed up by the sea in several parts of the world, but found in especially large quantities in the Baltic. Its vegetable origin is now generally admitted.= It is probably the resinous product of a particular species of a coniferous tree. A picture varnish of great value is obtained from it, which was used with success by Van Eyck and the early Flemish painters, and has been employed ever since. (1891a1)

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 antiquit= y, 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 sil= ver, and that of = electrina patera<= /i> to paterae made of amber alone Amber was largely used = by early painters as a varnish, = and also as a vehicle. It is hard= er than copal, and is said to be the most durable of all varnishes. It requi= res a long time to fit it for polishi= ng. Amber is supposed to be a vegetable fossil; it is washed up by the sea, especially on the shores of the Baltic. (1883m1)

Amber. A f= ossil product, usually washed up by the sea in various parts of the world, especially in the Baltic. It is probably the resin of some coniferous tre= e, as such wood is found in a fossil state. It is met with in commerce in irreg= ular-shaped pieces, of a yellowish resinous appearance, translucent, brittle, and dev= oid of taste and smell. It is not acted upon by water or alcohol, but is solu= ble in chloroform and in warm rectified spirits of turpentine, but more readi= ly in its vapour, balsam of copaiba, and in hot linseed oil, forming a valua= ble varnish, which has been used from a very early period in Art, both as a vehicle and as a protection to the surface of pictures. It is harder than copal, and, if carefully prepared, as pale in colour. Great difference of opinion exists as to the expediency of using it as a picture varnish, but= we can see no valid objection to it. Much of the brilliancy and crispness in= the works of the early Flemish painters is undoubtedly due to the employment = of varnish as a vehicle, and it is now employed by many eminent English artists. In = the works of the earlier continental writers on Art, amber is described under= the various names of carabe, glas, glassa, glessum; = and is sometimes confounded with oriental copal, and with the resin of the black poplar. For an examination of the evidence of the use of amber varnish, s= ee Mrs. Merrifield's Ancient Practic= e of Oil Painting, and Eastla= ke's Materials for the History of Oil Painting. (1855f1)<= /span>

--- $H Amber, <= st1:country-region w:st=3D"on">Egypt

Beads of amber have been found at = Abydos in the VIth and XIIth Dynasty = tombs. The nearest amber obtainable was from the Baltic, so that intercourse of = some kind was possible with Europe in the earliest time, a fact which is further proved by the tin which we know the Egyptians obtained for alloying copper to make bronze. (1902b1)

--- $H Amber Tone.

A warm tone observed in certain paintings. An amber tint varies from a shade of pale yellow to light carmine red. (1891a1)

--- $H Amber Varnish.

Amber Varnish. A modern writer (J. Wilson Neil) gives the following recipe for making pale amber varnish. Fuse six pounds of fine picked, very pale, transparent amber, and pour over it two gallons of hot linseed oil; boil it until it strings very strongly; mix w= ith four gallons of turpentine. This will be as fine as body-copal, will work very freely, and flow well upon any work it is applied to; it becomes very hard, and is the most durable of all varnishes. Amber varnish requires a = long time to fit it for polishing. *<= /b>

* Transactions of t= he Society of Arts, vcl. xlix.. (1855f1)<= /p>

--- $H Amber Yellow.

Amber Yellow, is an ochre of a rich amber <= span class=3DSpellE>colour in its raw state; when burned it yields a fi= ne brown‑red. (1883m1)

Amber Yell= ow is an ochre of a rich amber colour in its raw state; when burnt it yields a fin= e brown-red. It is better known in= Germany<= /st1:place> than in other countries. (1855f1)<= o:p>

$H Ambitus. Greek & Roman, Christian

Gr. R. and Chr. (ambio, to go round about). A small niche in underground Greek or Roman tombs for= ming 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 buri= al. The term is also applied to the process of canvassing for votes. (1883m1)=

$H Ambivium. Roman

R. (ambi= and via, a way round). Any road or street leading round a place. (1883m1)

$H Ambo. Architecture, Christian

Ambo. (Arch.) A name given to pulpits in Christian basilicae, and to the tribunes placed opposite one another in= the nave, from which the Epistle and Gospel were read. They ceased to be used about the end of the first half of the 13th century. ILLUS. ambo (1891a1)

Ambo, Chr. (perhaps from = •<= "$= "\= <,= 4<[=3Danabaenein], to ascend). A trib= une 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 wa= lls at Rome.= Fig. 18. The ambo of St. Lawrence at Rome. (1883m1)

<= /o:p>

$H Ambrices. Roman

R. The cross laths (= regulae) inserted between the rafters and the tiles of a roof. (1883m1)=

$H Ambrose, St.

Ambrose, St. The patron saint of Milan, of which city he was bishop. In devotional pictures he is represented as wearing the pallium and mitre and carrying the episcopal crosier.= His attributes are a beehive, because tradition says that when he was in his cradle a swarm of bees alighted in his mouth without harming him, and a t= hree‑thonged scourge, which he carries as the castigator= of sin. (1891a1)

Ambrose, S= t. The patron saint of Milan; but few works of Art exist in which he is so represented. The finest is t= he painting that adorns his chapel in the Frari at Venice, painted by Vivarini, towards = the end of the fifteenth century, a work of the highest excellence. St. Ambro= se is usually represented in the costume of a bishop. His attributes are, 1.= A beehive, in allusion to the le= gend told of him, as well as of some others distinguished for their eloquence, that, when an infant, a swarm of bees settled on his mouth without doing = him any injury. 2. A scourge (as = an emblem of the castigation of sin), in token of the expulsion of the Arians from Italy, or of the penance he indicted on the Emperor Theodosius. This latter event has been finely represented by Rubens; the picture is at Vienna, but a very beautiful copy by Vandyck is in the National Gallery at London (No. 50).= The same incident is illustrated by Falconet, in a statue now in the Hotel de= s Invalides at Paris. (1855f1)

$H Ambry. $ D See ALMERY. (1883m= 1)

$H Ambulant. Heraldry

(Her.) Walking or passant. (1891a1)

Her. In the act of w= alking. (1883m1)

$H Ambulatory. Architecture, Christian

(Arch.) A part of a building suitable for walking in, su= ch as cloisters, &c. (1891a1)

Chr. (ambulo= , to walk). Part of a cloister, forming a kind= of gallery for taking exercise in. (1883m1)