$H An. Mesopotamia<= /st1:place>

An. "A Star." The phonetic value of the cuneiform character which represen= ted both a star and the idea of deity.(1876c1)

$H An. Egypt

An. The Egyptian name of a funereal column erected over the tombs of strangers, or enemies slain in battle. (1876c1)=

--- $H An. Cities

An. The hieroglyphic name of the city of <= st1:City w:st=3D"on">Hermonthes in the Sout= h, as Heliopolis was the An of the North, of Egypt. (1876c1)<= /span>

An. The capital city of the nome of the same name in Low= er Egypt. (1876c1)

An. The twenty-first = nome of Lower Egypt. It was sacred to the w= orship of the deity Horus. Its site is not yet ident= ified. (1876c1)

An. The Egyptian name of the city of Denderah, in Upper Egypt. It was sacred to the deities Seb= ek and Athor, and the great temple there is the = most perfect of any remaining in Upper Egypt. (1876c1)

An. Or Un. The Egyptian name of the= city and nome of Heliopolis, in Northern Egypt. It was situated in = the thirteenth name, and was sacred to the god Atum. (1876c1)

--- $H An. People

An. "Scribe." The name of the Egyptian writers or clerks. They were also called Skhai. (1876c1)

An. An early Egyptian king of the Vth dynasty, of whom little or nothing is known. (1= 876c1)

An. An Egyptian monarch, who reigned at the close of the XIIIth or the beginning of the <= span class=3DSpellE>XIVth dynasty. Little or nothing is known respectin= g him. (1876c1)

An. The surname of Ra-en-user, an Egyptian king of the Vth dynasty. (1876c1)<= /span>

An. A son of Amenemap= , a priest of Amen, in the period of the XVIIIth dynasty. His wife's name was Raa. (1876c1)

$H Ana. Egypt

Ana. The first king of the VIIth Egyptian dynasty. (1876c1)

Ana. An Egyptian lady, the wife of Aker, and the mot= her of Pantina governor of the South. Se= e Pantina. (1876c1)

$H Anaa. Egypt

Anaa. "The Great An." An early Egyptian = name of the city of Tentyris or Denderah. See also An. (1876c1)

Anaa. An Egyptian mo= narch of the XIth dynasty. He is only known from hi= s name occurring on a list of the kings of Egypt in the Abbot Papyrus. (1876c1)

$H Anabathra. Greek & Roman

Gr. and R. (= •<= V‑$= "2= D"[=3Dana‑bathra], steps up).= Steps or stairs; a raised step; a mounting blo= ck. These last were often placed along the high roads. (1883m1)

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

Chr. Another name for the Hum= erale or AMICE (q.v.). (1883m1)

$H Anaceia or Anake= ia. Greek

Gr. (from = –<= ">[=3Danax], 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. (1883m1)

$H Anaceium. Greek

Gr. A temple of ancient Athens, dedicat= ed to Castor and Pollux. Slaves used to be sold the= re. (1883m1)

$H Anachronism.

Anachronism. A method of representing an event artistically, in which the order of time is violated. For instance, in mediaeval representations of scriptural scenes the costume, architecture, and accessories often belong to the time of the artist, not of the event portrayed. (1891a1)

Anachronis= m. A disturbance, or inversion, of the order of time, by which events are represented, or objects introduced, which could not have happened or exis= ted; such as the introduction of guns or cannon in historical pictures representing events which occurred before the invention of gunpowder; the representation of events belonging to ancient history in which the figures are clothed in modern costume. Anachronisms occur very frequently in the works of the old masters. (1855f1)

$H Anaclinterium. Greek

Gr. <= /span>(•= <"= 68= 4<= JZ= D4= @<[=3Danaklinterion]). The head‑board of a sofa or bed, which s= erved as a support for the bolster and the pillow on which the sleeper's head rested. (1883m1)

$H Anadem. Greek

Anadem. Gr. (= •<= V*= 0:= "[=3Danadema]). 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. (1883m1)

Anadem. A = Greek term for a band, or fillet, worn on the head by women and young men; it m= ust be distinguished from the DIADEM and other head bands, which were honorary distinctions, or the insignia of royalty, or of religious offices. Those = worn by male and female are shown in the annexed cut, copied from Greek vases.= 2 FIGURES(1855f1)

$H Anadyomene.

"She who rose from the sea." The goddess Aphro= dite was said to have been born among the foam of the sea, rising from which s= he has frequently been represented by both ancient and modern artists. (1891= a1)

$H Anaglyph.

Anaglyph. A name given by the ancients to sculptures in bas‑= relief (q.v.). (1891a1)

Anaglyph. (= •<= [=3Dana] and (= 8b= N,= 4<[=3Dgluphein], to carve). A general term to denote any work of art that = is sculptured, chased, carved, or embossed, such as cam= eos, bas‑reliefs, or other raised work, whether in metal, marble, or ivo= ry. 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 b= y 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 obsc= ure, 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 CAELATURA.) (1883m1)

$H Anaglypha, Anaglypta, Anaglypric.

Anaglypha, Anaglypta, Anaglypric. (Gr.) Vessels of bronze, or of the precious metals, chased or embossed, which derived their name from the work on them being in relief, and not engrave= d, the relief being produced by hammering; hence the term anaglyphic, to den= ote the art of executing such figures. The name was also applied to cameos and sculptured gems. When the figure is indented, or sunk, it is an INTAGLIO,= or DIAGLYPHIC. (1855f1)

$H Anaglyptography.

Anaglyptog= raphy. (Gr.) Anaglyptographic engraving = is that process of machine ruling on an etching ground which gives to a subj= ect the appearance of being raised from the surface of the paper as if it were embossed, and is frequently employed in the representation of coins, meda= ls, bas-reliefs, &c. It is the invention of M. Achille Collas, who has published a large work engraved on this plan. (1855f1)

$H Anagogia.

A festival at Eryx, in Sicily, in honour of Aphrodite. (1883m1)

$H Anagram.

Anagram. Changing the place of the letters of one or= more words so as to give a different meaning to the word or to the sentence; a= lso to inscribe the words backwards. Examples of each kind of anagram are contained in the words EROS, rose= ; AMOR, roma; ALCUINUS, calvinus. Several artists have u= sed the anagram of their names as a MONOGRAM. (1855f1)

$H Anahid.

The Armenian name of the Assyrian goddess = Anaitis, under which title she was worshipped in Armenia<= /st1:place>. (1876c1)

$H Anai. Egypt

A royal priestess, or Pallakist, of the XVIIIth or XIXth<= /span> dynasty. See Merian. (1876c1)

A royal scribe of the XIXth dynasty. He was one of the great family of Uermu, which see. (1876c1)

$H Anaitis.

A feminine form of the great deity Mithra, as introduced into the Median religion when corrupted from Zoroastianism. She was in some respects analogous to the Mylitta of the Babylonians, which see. (1876c1)

A Semitic goddess of a warlike character, somewhat approaching the Bellona of classic mythology. She was represented as a naked woman standing on a lion, and sometimes on a crocodile, holding a spear or bow, and wearing a peculiar crown formed of tall feathers. Her worship was introduced into Egypt probably about the time of Rameses II. after his Syrian victories, one of his daughters, Bentanath, being named after the goddess. (1876c1)<= o:p>

$H Anakunadasharruasshur. "I the Great King of Assyria."

A name supposed by Greek writers to have b= een that of the father of Assurbanipal. It was re= ally only the common title of the Assyrian kings. (1876c1)

$H Anakyndaraxes. <= /o:p>

A patronymic given by Greek historians to = Assurbanipal, being a corruption of his Assyrian ti= tle Anakunadasharruasshur, "I the Great King of Assyria." (1876c1)

$H Analemma. Graeco-Roman

Gr. a= nd R. (•= <V= 80= := :"[=3Danalemma]).

(1) Any raised const= ruction 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. (1883m1)

$H Analogy.

Analogy. T= he agreement of two things in their known qualities and relations; in the Fi= ne Arts, the unity and conformity of the representation. (1855f1)

$H Analysis.

Analysis. = To separate a thing or an idea into its component parts; in the philosophy of Art, to arrive at principles by examining characteristics. (1855f1)

$H Anamat. Egypt

An Egyptian city of which Bakennifi, chief of the troops under Piankhi Meramon, was the lord. (1876c1)

$H Anamorphosis.

Anamorphos= is. A deception in optics, which, by perspective projection, gives a distorted figure when viewed in the ordinary and proper manner; but, when seen at a particular angle or point of view, resumes its natural and proper figure. Such figures may be constructed on a curved surface, and, the visual rays being collected in a cylindrical mirror, reflect a perfect image in true perspective. (1855f1)

$H Anancoeum. Roman

R. A drinking cup of= great capacity, the form of which is unknown. If we may credit Varro it was sometimes richly chased. (1883m1)

$H Anankaion. Greek

Gr. <= /span>(•= <"= (6= "Ã= @<[=3Danankaeon], from •= <V= (6= 0[=3Danangke], restraint). A kind of prison the purpose = of which is not exactly known. According to some archaeologists it was a pri= vate prison for slaves, or for freedmen, who, from some fault, were reduced to servitude again; others assert that it was a public prison. (1883m1)=

$H Anapiesma. Greek & Roman

Gr. and R. (= •<= "‑B= \,= F:= "[=3Dana‑piesma], 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 appea= r; by another, marine deities made their appearance; while that through which passed the shades who ascended Charon's stair= case was called C= haron's anapiesma. (1883m1)

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

Another form of the name of the Scandinavi= an deity Onar, which see. (1876c1)

$H Anasch.

The scribe of the treasure of the deity Anhurschu, and of the goddess = Tafne, at the temple of Thinis. His mother's name was Iseueri; she was also a priestess of Tafne. (1876c1)

$H Anaseru.

An unidentified Semitic people who dwelt in the neighbourhood of L= ower Egypt. (1876c1)

$H Anasieh. Egypt

The modern name of the city and nome in Upper Egypt which was called by the Greeks Heracleopolis. (1876c1)

$H Anastasi. Egypt

See PAPYRI. (1902b1)

$H Anastasia, St. Christianity

Anastasia, St. A saint who suffered martyrdom at Rome for professing Christianity. Her attributes are the stake, the faggots, and the palm. (1891a1)<= /span>

Anastasia, St., is represented with the attributes,= a stake and faggots; and with the palm as a symbol of her martyrdom. (1855f= 1)

$H Anastatic or Anastat= ic Process. <= /h1>

Anastatic. An ingeniou= s modern process of reproducing copies of printed matter, engravings, ink drawings, &c., by transferring them to a sheet of polished zinc. (1883m1)

Anastatic Process. A process of reproducing in facsimile any printed page, either t= ype or picture. The page to be copied is first moistened with dilute acid and then pressed down on a smooth plate of zinc. As the acid only affects that portion of the page which is not printed on, the result is that the part = of the zinc plate which comes in contact with the unprinted portions of the = page is slightly etched, while the printed portion leaves a film on the metal.= The plate is then inked, and impressions struck off as in lithography. Photolithography has now entirely superseded the ana= static process. (1891a1)

Anastatic. A word derived from the Greek, sign= ifying "reviving." A recently-invented process, by which any number of copies of a printed page of any size, a woodcut, or a line-engraving, can= be obtained. The process is based upon the law of "the repulsion of dissimilar, a= nd the mutual attraction of similar, particles," and is exhibited by oi= l, water, and gum-arabic. The printed matter to = be copied is first submitted to the action of diluted nitric acid, and, while retaining a portion of the moisture, is pressed upon a sheet of polished zinc, which is immediately attacked by the acid in every part, except that covered by the printing ink, a thin film of which is left on the zinc. It= is then washed with a weak solution of gum-arabic; an inked roller being now passed over the zinc-plate, the ink adheres only to that portion which was inked in the original; the impressions are then ta= ken from the zinc-plate, in the same manner as in lithographic printing. (185= 5f1)

$H Anastylosis

The reassembly of a monument or structure from fallen parts.

$H Anat. Or Anatu. Assyria

Anat. Or Anatu. The feminine Sact= i of the Assyrian deity Oannes. She was the wif= e of Anu, and the impersonation of passive reproductive matter. Her chief title was "The Lady of Death and Life." Under= the name of Anaitis she was worshipped by the Egyptians, in which case she was regarded as a feminine form or wife of t= he god Reseph. (1876c1)

$H Anathema. Christianity

Anath= ema. Chr. (•= <V= 20= :"[=3Danathema], an offering). Anything offered up in churches by the faithfu= l; as, for instance, vases and other utensils for sacrifice, altar ornaments, &c. (1883m1)

Anath= ema. Chr. The greater excommunication, answering to the Hebrew chere= m. (1883m1)

$H Anathemata.

Anathemata= (Gr.), DONARIA (Lat.) By these names the ancients designated presents or offerings made to the gods. In the early ages these consisted of garlands, locks of hair, &c., but, when the Arts flourished in Greece, the anathemata were= tripods, candelabra, cups, vases, statues, &c., of the most exquisite workmans= hip, in bronze and the precious metals. The number of anathemata must have been immense; many are still extant, showing by their inscriptions that they w= ere dedicated to the gods as tokens of gratitude. Another class of anathemata, consisting of tablets to commemorate recovery from sickness, will be described under VOTIVE TABLETS. (1855f1)

$H Anatomy.

From the artistic point of view, anatomy for the sculptor and painter is the study of bodily forms and the play of muscles. The branches of anatomy most important for artists are o= steology (the study of bones) and mythology (the study of muscles). In addition to this they ought to possess a knowledge of the elementary principles of physiology, i.e. the science of the phenomena of life and the functions of the various parts of the body. (1891a1)

Anatomy. The science of the structure of living creatures; that branch which relates to man is called ANTHROPOTOMY, and that to animals ZOOTOMY: the former is the knowledge of the interior = and exterior parts of the human frame, and its changes according to its posit= ion, emotions, and movements; it is particularly necessary to the artist, as t= here is no exact beauty in his representations, unless there be truth also. The study or the bones (OSTEOLOGY) and that of the muscles (MYOLOGY) is also = of the higher importance, for upon these depend the proper balancing, motion= , and expression; and it is not always that genius, taste, and readiness in sei= zing nature, will suffice without actual study. The anatomy of the artist is n= ot that of the physician, for the former only studies the bones and muscles = so far as they influence the external form; in the blood-vessels, for instan= ce, he merely requires to know those which appear in representing passion. * The physician studies, in the corpse, the muscles and their mechanical functions; the artist, on the co= ntrary, examines their play, their life, regarding them as the type of physical s= trength, of the state of mind; as a mirror of that which agitates the soul,- a ref= lex of the spiritual life. Anatomy, in a medical point of view, is a purely material study, useful to the artist in his representations of dead bodie= s; in an artistic sense, it is an abstruse physiological science. Skeletons = and anatomical drawings are not enough for the artist; he must penetrate into= the mysterious region where the soul moves the springs of the body, speaking = in a language which will be intelligible as long as man exists. To this langua= ge descriptive anatomy is only the dictionary; living, acting, sentient man, must form the study; for where passions are struggling - where grief, joy, and love, are acting - there must the artist learn the idiom. Thus did Mi= chael Angelo, Jacques Callot, and Hogarth, study life, and thus did the Dutch conceive their faithful representation= s of human nature; the great painte= rs of the sixteenth century, Da Vinci, Raffaelle, Titian, and Michael Angelo, employed muc= h time in anatomical drawings, but few of which are preserved to us. Such drawin= gs, or anatomical tablets, as they were called, were first engraved in wood, = and then in metal, and latterly in lithography, so that the anatomical wants = of the artist are well supplied. &#= 8224; FIGURE

*<= /span> The accompanying woodcut represents the anatomy of a Winged Victory slaying a Bull (the original of which is in the British Museum), and is c= opied from the frontispiece to a Discou= rse on the Nature of Limbs. By Richard Owen, F.R.S. London, 1849.

† The best treatise on the Anatomy = of the External Forms for the use of artists is that by Dr. Fau, translated = by Dr. Knox. London<= /st1:place>, 1849. It has excellent engravings. (1855f1)

$H Anatu. Or Anat. Assyria

$H Anaua. Egypt

A royal scribe of the city of Memphis in the <= span class=3DSpellE>XIXth dynasty. (1876c1)

$H Anaukas. Egypt

The Egyptian name of a district near to Tahi, which see. (1876c1)

The Egyptian name of a city of the Upper <= span class=3DSpellE>Rotennu, which was believed by some to have been Cilicia. (1876c1)

$H Anaukasa.

A strong fortress of the Rotennu in the land of the Tahai, in Northern Syria, which was taken by Thothmes III. of the XVIIIth dynasty, in his ninth campaign. (1876c1)