$H Anti. Egypt
|
A peculiar kind of incense or gum which was
procured from Arabia, it was indeed the chief article of commerce imported
into |
|
A nomadic people inhabiting the country
between |
$H Antia.
|
Antia. The iron handle of a shield. (1883m1) |
|
Antia. The=
handle
of a shield. (1855f1) |
$H Antiae. Roman
|
R. The ringlets of h=
air worn
by men and women which hung about the ears and the temples. (1883m1) |
$H Anticaglia.
|
Anticaglia=
. An Italian word, signifying the
remains of antiquity, particularly fragments of ancient architecture and =
the
plastic Arts. At the present time this term is usually applied to the less
important specimens, for instance, utensils, weapons, ornaments, &c.
(1855f1) |
$H Antick.
|
Antick. Strange, irregular, or fanta= stic in composition. (1883m1) |
|
Antick. Irregular in
combination, or fancy, of heterogeneous character, such as the fantastical
compositions of human beings with foliage, birds, beasts, &c., formed
partly of each other, and combined as ornamental adjuncts in sculpture and
painting, of which ancient Art produces a great variety; and the more mod=
ern
Art gives additional examples in Raffaelle's =
arabesques,
and the grotesque works of modern Italy. * * = See ARABESQUE and GROTESQUE. (1855f1) |
$H Antico-moderno, Quattro-cento.
|
Antico-mod=
erno,
Quattro-cento. (Ital.) That
transition style between the comparatively meagre productions of the most
eminent early masters and the fully developed form and character of the w=
orks
of Raphael and his great contemporaries. It arose soon after the time of
Massaccio, and characterised the whole of the fifteenth century, until the
appearance of the works of Da Vinci and Fra Bartolomeo. It is exhibited in
its most perfect condition in the works of Francia. (1855f1) |
$H Antilena. Roman
|
R. An appliance atta= ched to the pack‑saddle of a beast of burden. It was a broad strap passing = in front of the animal's breast so as to prevent the saddle from slipping backwards. It was employed especially in mountainous districts. (1883m1)<= o:p> |
$H Antimensium.<= span style=3D'mso-spacerun:yes'> Christian
|
Chr. A consecrated altar‑cloth. (1883m1) |
$H Antimony.
|
Antimony. =
The oxide of this metal is employed in the
preparation of yellow pigments for enamel or porcelain painting. Glass is=
coloured yellow by antimony. (See |
|
Antimony. =
The
oxide of this metal enters into the composition of some of the pigments u=
sed in
painting, as |
$H Antinoe. Egypt
|
A chief town in the A=
ntinoite
nome of Middle Egypt; it was also called Besa. The Egyptian name was Di=
mast.
(1876c1) |
$H Antinoites. Egypt
|
An eighth nome=
which
was added to the Heptanomos by the Emperor Ha=
drian.
Its chief towns were, the Speos Artemidos,
now called Beni Hassan
famous for its early tombs, and Antinoe or |
$H Antipendium.<= span style=3D'mso-spacerun:yes'> Chr. (S= ee ANTEPENDIUM.) (1883m1)
$H Antiphoner. Christian
|
Chr. An antiphonarium;=
a book
of responses set to music. (1883m1) |
$H Antiphra.
|
A Libyan city on the West of the |
$H Antiplastic.<= span style=3D'mso-spacerun:yes'>
|
A term applied to certain substances, such as quartz, sa=
nd,
&c., which are used in pottery to mix with the paste, in order that t=
he plasticity of the aluminous sili=
cates
of which the paste consists may be diminished. (1891a1) |
$H Antiquaille.<= span style=3D'mso-spacerun:yes'>
|
A term of contempt used to denote antiques of small valu=
e or
no interest. (1891a1) |
$H Antiquarian.
|
Antiquarian. Drawing paper is cut into she=
ets
of various dimensions; that called antiquarian
usually measures fifty-three inches by thirty-one. (1855f1) |
$H Antiquary.
|
In former times a man skilled in ancient lore or a colle=
ctor
of antiquities was called an anti=
quary.
The term is only used to‑day to imply contempt or to describe a
vendor of curiosities. The antiquary as a learned man is now called an |
$H Antique. <= span style=3D'mso-spacerun:yes'> Graeco-= Roman
|
Antique. Pertaining =
to
ancient Greek or Roman art: more freely used in recent times to describe =
the
quality of ancient art in general, but properly applicable only to classi=
cal
art. (1883m1) |
|
Antique. Under this designation are included Greek and Roman work=
s of
sculpture, such as statues, bas‑reliefs and engraved gems. The stud=
y of
the antique is the study of the beauty of form and the purity of outline as
observed in classical works of art. In modern art schools students genera=
lly
go through a course of drawing from the antique before entering the life&=
#8209;school.
(1891a1) |
|
Antique, A=
ntiques.
A term derived from the Latin ant=
iquus,
ancient. By "antique" is understood pre-eminently those peculia=
rities
of genius, invention, and Art, which are preserved in the remains of cult=
ivated
nations of antiquity, and which must always excite our admiration and inf=
luence
our studies, as the most important and enduring relics of ancient times. =
With
the idea of the antique is united the CLASSICAL, by which we generally
understand those writings and works of Art which are perfect in conception
and execution, and therefore worthy of being our patterns. The term is us=
ed
only for those creations which are left us of the Greeks and Romans, whic=
h, among
all early nations, we call, par
excellence, "the Ancients," because they were superior to a=
ll
others in mind and manners, and because they impressed more or less the s=
tamp
of their cultivation on the greater part of the ancient world. In Art we
regard the Greeks as the true classical ancients, being incontestably
superior to the Romans, who were only an imitative nation, formed on the
Greeks themselves. Of all nations, the Greek alone is that in which inter=
nal and
external sentient and mental life existed in its most beautiful proportio=
ns,
therefore they appear from the beginning to have been peculiarly destined=
for
independent cultivation of the forms of Art, although a long development =
and
many favourable circumstances were required before the genius which early
appeared in mythology and poetry could be transferred to plastic Art. In =
that
perfection of external form by which the Greek artist was surrounded he
formed his IDEAL, in which lies the great truth
of the so-called antique forms; in them the ideal is the comprehension of=
nature, whose prevailing charact=
er is
the embodiment of the spiritual. By
ANTIQUES we understand those works which have become, as it were, the types of human form, the
representations of life in all its variety, which belong to true plastic =
Art,
such as the works of the chisel, the mould-statues, baa-reliefs, and mosa=
ics.
In a wider sense we use the word ANTIQUES to express all the productions =
in
the various plastic Arts of the Greeks and Romans, as distinguished from =
the
Art of the remaining ancient and unclassical nations - Egyptians, Indians,
&c., and also from all later and modern Art. (1855f1) |
$H Antiquity, Antiquities.
|
Antiquities. Under this name are classed the ruins of buildings,
monuments, arms, furniture, ornaments, all the remains in fact of ancient
art. The term is especially applied to the artistic objects of the Byzant=
ine,
Gothic, and Renaissance periods, the term antiques
being reserved for Greek and Roman works of art. (1891a1) |
|
Antiquity, Antiquities. In an artistic sen=
se,
the old, as opposed to the new, times. It is supposed to extend from the
earliest historical knowledge to the irruption of the barbarians upon the=
* According to Mull=
er, the
treatment of ancient Art, since the love for classical antiquity was
re-awakened, may be divided into three periods: - First. The artistical, extending from about=
1450
to 1600, and the time of collections and renovations. Secondly. The antiquarian from 1600 to 1700, w=
hen
learned examinations and elucidations, having no reference to Art, took
place. Lastly. The scientific
period, from 1750, in which aesthetic principles were added to the study =
of
archaeology.(1855f1) |
$H Antiquum Opus. Architecture
|
Antiquum Opus, Arch. An ancient kind of stone‑wor=
k or
masonry composed of irregular stones. Another name for it was opus incertum.
Fig.
32. Opus Antiquum. (1883m1)
|
![](3D"anti_files/image013.gif")
$H Antiseptic varnish.
|
Antiseptic varnish. A
glazing composed to protect vegetable or animal pigments. (1883m1) |
|
Antiseptic
Varnish. A glazing composed to ensure the protection of such vegetable or
animal colours as are likely to fade by an exposure to light and air.(185=
5f1) |
$H Antitype.
|
Antitype. =
The realization of the type. (1883m1) |
|
Antitype. That which is emblematized, or
prefigured, by a type. Thus, the Paschal Lamb was a type to which our Saviour, the La=
mb of
God, was an antitype. ** So also were the symbols of the saints, † and those of the heathen
gods. ‡ ** See AGNUS DEI. † See SYMBOLS. ‡ See ATTRIBU=
TES. (1855f1) |
$H Antkhu.
|
The Egyptian name of an unidentified preci=
ous
stone. (1876c1) |
$H Antnmu.
|
The Egyptian name of an unidentified town.
(1876c1) |
$H Antonine Column.
|
Antonine Column. One o=
f the
most valuable architectural monuments in |
|
Antonine Column. A pillar erected in honour of M. Aurelius and
decorated by a spiral series of reliefs,
representing scenes from that Emperor's war with the Germans. It is a clo=
se
imitation of Trajan's column, to which it is
artistically inferior. Its pedestal was restored in the 16th century, and=
a
statue of
|
|
Antonine Column.
In the middle of one of the principal squares of the city of
|
![](3D"anti_files/image014.gif")
![](3D"anti_files/image015.gif")
$H Antu. Egypt
|
A mystical locality in Egyptian mythology.
(1876c1) |
$H Antui. Egypt
|
The Egyptian name of an unidentified distr=
ict.
(1876c1) |
$H Antyx.
|
Antyx. (Gr.<= /i>) The rim or border of anything, such as a shield or chariot. The shield of the Homeric heroes was sufficiently large to cover the entire person; the framework was made of wicker,= or of osiers twisted together; and of w= ood, which was afterwards covered over with several folds of bull-hides, and b= ound with a metallic ring around the outer edge - the antyx. * The word antyx is sometimes used to signify a chariot; at others, the curved front of the chariot, to which it gave both form and strength. It was often made double. FIG= URE * =
Our
engraving is copied from Meyrick's Critical
Inquiry into Ancient Arms and Armour, and representations of the large
Grecian shields, seen sideways, and behind, showing the straps for the arm
and the hand. (1855f1)
|
![](3D"anti_files/image016.gif")
$H Anu. 1. Egypt ; 2. Assyria
|
Another form of the name of the earliest
inhabitants of the valley of the |
|
In Assyrian mythology the first great deit=
y of
the upper triad, Anu, El=
u
or Bel, and Hea, =
or
Heaven, Earth, and Hades. His residence was in the upper or seventh heave=
n,
which was called the heaven of Anu, and was
symbolized by an emblem resembling a Maltese cross, which was often worn
round the necks of the Chaldean kings. As the=
god
of heaven, he was called "The God of Heaven," "Anu the King, The Great God, The God of the World, =
The
Chief of the Gods, and Father Anu." The
Assyrians regarded him more in the light of the Zeus of the Greeks as a
divine and benevolent personality. The Accadians,
on the other hand, looked upon him simply as the Spirit or fetisch of Heaven, in which case he was called Anna=
, or
still more simply Na. His wife Anu, or Anatu, was simply a feminine form of himself. She w=
as the
goddess of life and death, and the Anaitis of=
the
Egyptians. See Anaitis.
(Boscawen.) (1876c1) |
$H Anua. Egypt
|
A royal scribe and priest of Pthah at |
$H Anub. Egypt
|
A priestess of Amen, and the wife of the c=
hief
butler Aia, which see. (1876c1) |
$H Anubis or Anpu<=
/span>.
Egypt
|
Anubis. In Egyptian
mythology the chief of the gods of the dead. He was called "The Son =
of
the Cow" or of the goddess Nephthys, and=
he
was generally represented as a jackal-headed man, or as a jackal resting =
upon
the top of an open tomb, having a collar or ribbon round his neck, with a=
sceptre between his paws, and with the flabellum of=
the
god Khem behind him. In this latter form he m=
ost
frequently occurs on the funereal pectorals of the X=
IXth
dynasty. He was, as the peculiar deity of the dead, the guardian of the <=
span
class=3DSpellE>mummied body, and the president of the embalmers; a=
nd as
his office, like that of Horus, led him to dr=
ive
away evil spirits from the deceased, he was also called like him, "T=
he
Conqueror of the Enemies of his Father Osiris=
."
Anubis was also in some degree analogous to t=
he
Hermes Psychopompos of the Greek, inasmuch as=
he
was the guardian of the way of life, and, together with Horus,
escorted the souls to Hades. In the earlier papyri, and in the Ritual of =
the
Dead, Anubis assumed several important charac=
ters;
but his cultus gradually declined before the
increase of that of Horus and Amen Ra, till a=
fter
the XXVIth dynasty, when he appears to have b=
een
again regarded as a form of Horus, both as the
avenger of Osiris and the justifier or redeem=
er of
the dead. His name is more properly written according to the hieroglyphic
system, Anpu or Anepu.
The jackal was his sacred animal. (1876c1) |
|
Anubis or Anpu. The god who presided over embalming,
and especially a god of the dead. His cult was very general throughout
|
![](3D"anti_files/image017.jpg")
$H Anugas. Egypt
|
A city of the Rotennu=
between |
$H Anuketmatma. =
Egypt
|
A daughter of |
$H Anukit. Egypt
|
A
goddess, wife of KHNEMU and third in the triad of El=
ephantiné.
Her distinguishing head-dress is a crown of feathers, though sometimes she
wears only the crown of
|
![](3D"anti_files/image018.jpg")
$H Anuktata. Egypt
|
A princess of |
$H Anulus. (See ANNULUS.)<= /span> (1883m1)
$H Anunit. Assyria
|
A star which was identified by the Assyria=
ns
with the goddess Ishtar, the daughter of the
Moon-god Sin. (1876c1) |
|
An Assyrian or Chalde=
an
goddess worshipped by the early monarchs. She has been supposed to have
resembled the Venus of the Greeks. See
also Anaitis. (1876c1) |
$H Anup. "<=
span
class=3DSpellE>Anubi=
s."
Egypt
|
A city and nome in |
$H Anupenkau. Egypt
|
The chief of the gates, secretary of the k=
ing,
premier officer of the palace, and smer of an unnamed monarch of the Vth
dynasty. (1876c1) |
$H Anupt. Egypt
|
A
goddess found at Dendera. She represents the
feminine principle of Anpu (q.v.). (1902b1) |
$H Anurta.=
|
The Egyptian name of the river Orontes, in |
$H Anvil. Christian
|
Anvil. In Christian art the attribute of St. Adrian (q.v.) and =
St. Eloy (q.v.). (1891a1) |
|
Anvil. In Christian =
art the
attribute of St. Adrian, and of St. Eloy, the
patron saint of the smiths. (1883m1) |
|
Anvil, in Christian Art, is the attribu=
te of
St. Adrian, and of St. Eloy, the patron saint of goldsmiths and other wor=
kers
in metals. (1855f1) |
$H Anysis. Egypt
|
A nome in |
$H Anzan. Egypt
|
A province of the ancient empire of |
$H Ao. 1. Assyria; 2.
Egypt
|
An Assyrian deity called "The Intelli=
gent
Guide, the Lord of the Visible World, the Lord=
of
Knowledge, Glory and Life." His most usual symbol was a serpent. In
concert with the other great divinities the city of |
|
According to Wilkinson, the name of an
uncertain Egyptian deity, sometimes called Moui. He
was represented as a kingly figure with an upright feather on his head.
(1876c1) |
$H Aos.
|
In Greco-Babylonian mythology the son of <=
span
class=3DSpellE>Kissare and Assaros, an=
other
third member of the first divine triad. By his wife =
Dauke
he was the father of the demiurgus Bel. (1876c1) |
$H Aouaa. Egypt
|
The form used by some Egyptologists for the
name Iuaa, the father of Queen Taia.
(1876c1) |
$H Aoura. Or Balot.
Egypt
|
Aoura. Or Balot. A beautiful valley in the Elysian Fields of the Egyptians, which had to be passed through by the deceased before his trial, by Osiris and the forty-= two assessors. (1876c1) |
$H Aoutou. Egypt
|
The Egyptian name of an unidentified Syrian
city near |