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Gr. (Lat. Desultor). One who dismounts. (1) Soldiers in char=
iots who leaped in and out in the fight. (2) The circus rider=
s who
leaped from one horse to another. (1883m1) |
|
Apodyterium. (Arch.) The room in an ancient bath,=
in
which the bathers undressed. (1891a1) |
|
Apodyterium. R. and Gr.‑R. (from =
BÎ =
*b=
T[=3Dapo
duo], to put off). In a general sense, an
undressing‑room, and more particularly the apartment in the baths w=
here
the bathers undressed. As little light penetrated from without, there was
generally a lamp burning in a niche. An apodyterium such as that =
just
described may still be seen at |
|
Apollonia,=
St., of
|
$H Apollinopolis.=
|
The second nome of
the Thebaid in |
|
The
Greek name for Tebt,
the capital of the second nome of |
|
In Greek mythology the god of light, both mental and
physical, and is so of knowledge, music, and purity. He is generally
represented in Greek art of the best period as a youthful athlete. In the=
art
of Greek decadence the Apollo type became more effeminate. As the god of
music he holds a lyre, and is represented as draped or with long flowing
hair. He is also found with a bow and arrow in his hand, as killing a liz=
ard
(Sauroctonus), and as vanquishing Marsyas, whom he afterwards flayed. The symbols of =
Apollo
are the lyre, the laurel, the wolf, swan, raven, &c. (1891a1) |
|
It. The name usually=
given
to the beautiful "Apollo of Florence," attributed to Praxiteles. (1883m1) |
|
The patroness against toothache and diseases of the teet=
h.
She suffered a martyr's death in 250 A.D., her teeth being drawn out. Her
attributes are a palm and a pair of pincers with a tooth. (1891a1) |
|
A Greek name which seems to have taken the
place of that of Horus as a proper name in the
latest periods of Egyptian history. (De Rougé=
.)
(1876c1) |
$H Apophis.
|
The Greek form of the royal name Apepi, the last of the Hykshos=
kings of |
|
In Egyptian mythology the name of the great
serpent of evil inhabiting the lower world, whose office it was to seduce=
the
souls of the deceased into error or forgetfulness as they crossed the wat=
ers
of the infernal |
|
Apophyge or Apophysis, Arch. The small fascia or band at the to=
p and
base of the shaft of columns. (1883m1) |
|
Apophyge. (Arch.) A concave curve, by which the shaft of=
a
column is connected with the projecting mouldings of the base and capital=
. ILLUS. apophyge (1891a1)
|
|
The mug or tankard shown in the engraving is of Nanc=
onian
or
|
|
Apostles. In earliest time the
representation of the apostles is purely emblematical, they being figured=
as
twelve sheep. They were next represented as twelve men, all alike, each w=
ith
a sheep, and later with a scroll. From the 6th century they were
distinguished each by his attribute. (1891a1) |
|
Apostles. In the earliest periods of Chris=
tian
Art, the APOSTLES were represented under the emblematical forms of LAMBs, or SHEEP, grouped around Christ standing on =
an
eminence, also as a lamb, nimbed, or as the g=
ood
Shepherd, bearing a lamb in his arms. At a later period they were depicte=
d as
MEN, each bearing a sheep, and Christ in the midst, also bearing a lamb i=
n his
arms, or on his shoulders. Subsequently, the apostles became individualised, and were depicted under certain
conventional forms, which were more or less adhered to throughout the who=
le
period of Christian Art. They were represented as men of different ages,
sometimes with flowing beards, their heads surrounded with the NIMBUS, fe=
et
naked, and with appropriate ATTRIBUTES, the instruments of their martyrdo=
m.
Usually, they each carry a book, by which they are distinguished from the
prophets, who bear parchment rolls. At times, their names are inscribed
within the circumference of the NIMBUS; at others, on scrolls above their
heads, or beneath their feet. In ecclesiastical decoration, we find them
grouped together as a series; and in pictures, of which the subjects are
taken from the life of Christ: as the Last Supper, the Ascension, the
Transfiguration, the Parting of the Apostles, the Twelve Martyrdoms, the
Twelve Baptisms, the Assumption of the Virgin, &c. When they are depi=
cted
carrying scrolls, there will be found inscribed on each a sentence from t=
he
Belief, commencing with * This subject is v=
ery
fully treated in Mrs. Jamieson's =
Sacred
and Legendary Art. |
|
O.E. Probably garmen=
ts used
for mystery plays. (1883m1) |
|
Gr. and R. (=
B=
@2=
Z6=
0[=3Dapotheke],
a granary). A store‑room or magazin=
e for
containing any kind of stock. The Romans also applied the term specially to a wine store‑room situated in the=
upper
part of the house; this was sometimes called the fumarium. Here the wine w=
as
placed in amphorae to ripen it more quickly, whereas when stored in the <=
span
class=3DSpellE>cella vinaria=
, it
was placed in CUPAE and DOLIA (q.v.). (1883m1) |
|
Gr. (=
B=
Î[=3Dapo],
2=
,Î=
H[theos]
god, to deify). A dei=
fication;
the ceremony by which a mortal was introduced among the number of the god=
s.
The proper term in Latin is consecratio (q.v.). The funeral pile, in such cases, w=
as
built several stories in height, and an eagle was let loose from the top
storey, to carry the soul of the emperor from earth to heaven. This is
commemorated upon the medals struck on the occasion, which represent an a=
ltar
with a fire on it, from which an eagle ascends. (1883m1) |
|
A ceremony by which a mortal was placed among the gods.
There are in existence a number of medals, paintings, and sculptures in
tended to perpetuate the memory of this ceremony. An essential part of it=
was
the burning of an effigy of the deceased. As the smoke ascended an eagle =
was
let loose, which was supposed to carry the soul of the dead man to heaven.
Consequently on Roman coins struck in honour of an apotheosis we often fi=
nd a
fire burning on an altar and an eagle ascending. In the
|
|
Apotheosis=
(Gr.), CONSECRATIO (Lat.) Deification. A ceremony am=
ong
the ancients by which a man was raised to the rank of a god. The Romans u=
sed
the word consecratio to expre=
ss the
apotheosis. The ceremonies attendant upon the occasion of an apotheosis w=
ere
both festival and religious observances, consisting chiefly in burning an
effigy of the deceased on a funeral pile; as the fire ascended an eagle w=
as
let loose, by which was conveyed the idea of carrying the soul of the dei=
fied
mortal to heaven; and, in conformity with this, it is common to see on me=
dals
struck to commemorate m apotheosis, an altar with a fire on it, from whic=
h an
eagle ascends. Our illustration is taken from Roman coins, and exhibits t=
he
ordinary mode of representing this act, the emperor, in the one instance,=
seated
on the back of an eagle, and the empress upon a peacock. In the
|
|
Apparel, Chr. Embroi=
dered
additions to the vestments of the clergy. (1883m1) |
|
Apparels. (Cost.) A word used to denote the embroidered borders of ecclesiastical garments. They were very richly ornamented, and often studded with gems. As a rule, they were placed round the bottom and= on the waist of the vestment. ILLUS. apparels (1891a1)<= o:p>
|
$H Apparells.
|
Apparells=
, worked in silk=
and
gold, embroidered with ornaments or sacred imagery, sometimes enriched wi=
th
pearls and precious stones, were attached to ALBS and other ecclesiastical
vestments, and worn as a general decoration in the thirteenth and fourtee=
nth centuries;
but only occasionally in more recent times; but in consequence of the rev=
ival
of interest in all matters relating to Christian Art, they have lately be=
en
revived in a portion of the Romish Church. Th=
e apparells either went round the bottom edge or the =
wrists
of the vestment to which they were attached - this is the moat ancient st=
yle
- or they consisted of quadrangular pieces, varying in size from twenty i=
nches
by nine, to nine inches by six, for the bottom; * and for the wrist, six
inches by four, to three inches square. The apparell=
s
are distinctly figured upon numerous monumental effigies and brasses: fine
examples of the former are preserved in the Cathedral of Rouen. † FIGURE * The beautiful example given in our engra=
ving
is obtained from the brass of a priest, temp.
Edward III., in † The reader =
should
consult the elaborate detail of the subject under the article ALBE, in
Pugin's Glossary of Ecclesiastical
Ornament and Costume. (1855f1)
|
|
Her. Said of a hand, open, erect, and showing t=
he
palm. (1883m1) |
|
(Her.) Said of a hand when it is blazoned upright with t=
he
palm presented to view. (1891a1) |
|
Appian Green (APPIANUM=
, Lat.) A pigment used by the anci=
ents;
according to Pliny, it resembled =
verdigris,
and was used as a substitute for it; it was prepared from green earth, an=
d is
now known as Cyprus or Verona green, because the best is found in those
places; all these green earths appear to be of a chalky base, coloured by oxide of copper. (1855f1) |
|
Lat. Appian
green, a pigment used by the ancients, prepared from green earth, now kno=
wn
as |
|
Apple. The emblem in classical art of victory, and in
Christian art of the fall of man. (1883m1) |
|
Apple, in Christian Art, is used as a s=
ymbol
to represent the fall of man and original sin. (1855f1) |
|
Apple. In classic=
al art
the apple was an attribute of Aphrodite. In devotional art it typifies the
temptation and fall of man. (1891a1) |
|
Apple. The=
apple
is the emblem of victory; it is seen as an attribute in the hand of Venus victrix, with the poppy, w=
hich
she holds in the other hand. When she is represented as triumphant over M=
ars,
who was conquered by her only, instead of the apple she generally holds in
the right hand a helmet, upon which she gazes. The maternal Aphrodite, or=
Venus genetrix, honoured by the
Romans, often bore the apple, in explanation of which legends relate that=
she
gave three apples to Hippomanes, by which the possession of Atalanta was
secured to him. This attribute meant originally the pomegranate, because
Aphrodite Cypria, so called from the worship of her in |
|
Appliqué. Fr.=
Applied
ornament, as of metal or porcelain upon wood. In embroidery, Appliqu&eacu=
te;
work is used, when a pattern cut out of one colour=
span>
or stuff is applied, or laid on, to another. (1883m1) |
|
Appliqué. (Fr.)
Ornamental work or enrichment made separately, and applied, fastened, or mounted, on another; the term is used f=
or
ornamental plaques of metal, =
china,
&c., sometimes let into, or affixed to, furniture, &c. (1855f1)=
span> |
|
Appliqué. A general term for ornaments which are let into or
fixed on to the surface of an object. For instance, a wood panel may be
decorated by appliqués of bronze. The name is particularly given to candelabra, the horizontal shank of wh=
ich
is terminated by an ornament, fixed on a vertical surface, such as panell=
ing,
wainscoting, or pilasters. ILLUS. applique (1891a1)
|
|
A Syrian town, mentioned in the Egyptian
papyri. It is supposed by some to have been the Ophr=
ah
of Hebrew history. (1876c1) |
|
The Greek form of the Egyptian royal name =
Uahprahet, the Hophra o=
f the Jewish
writers, which see. (1876c1) |
|
The name of an Egyptian funereal ceremony,
called the "Opening of the Mouth." (1876c1) |
|
The Greek form of the Assyrian royal name =
Assurnadinmu, which see. (1876c1) |
|
The Egyptian name of an unidentified distr=
ict
in the Soudan in |
|
In Hindu mythology a number of heavenly
virgins, 600,000,000 in all, whose office it was to solace the gods and t=
he
souls of departed men. (1876c1) |
|
Apsis. (Lat.) The rounded end of a basil= ica of a Christian church at the back of the altar, the embowed or arched roof o= f a room, the canopy of a throne, &c. (1855f1) |
|
Absis or Apse. R. (=
R=
ÂH[=3Dapsis], a bow or vault). Any enclosure of semicircular form terminating a
room, hall, &c. There was an absis in the B=
asilica
(q.v.), or court of justice, and it was in the semicircular recess thus
formed that the judges' seats were placed. Many temples also had an absis a=
ttached
to them, and there is one in particular of this description well known to=
all
archaeologists. This is the absis of the |
|
Apse, Apsis, or Chevet (=
R=
ÂH[=3Dapsis], bow or vault). The termina=
tion
of a church. It is generally of semicircular form, and surmounted by a de=
mi‑cupola,
but there are instances of rectangular apses. Fig. 35 represents the apse=
of
St. William in the Desert. (See ABSIS.) <=
/span>Fig. 3=
5.
Apse of St. William in the Desert, a monastery in the South of France. =
8209;
Built about A.D. 820. (1883m1)
|
|
Apse. (Arch.) The semi‑circular or polygonal
termination of a church, situated behind the choir. In Christian churches,
which run from west to east, the apse is at the east end. In the Romanesq=
ue
or Norman churches the apse generally takes the shape of a semicircle. In=
the
13th century it is polygonal, but flanked by chapels at its base. Though =
the
apse in more commonly met with on the Continent, many specimens remain in=
|
|
(Arch.) Small chapels attached to the apse of a church. =
They
are sometimes semicircular, sometimes polygonal. They are nearly always
uneven in number, the one placed at the axis of the church being as a rule
considerably larger than the others, and dedicated to the Virgin. In Engl=
ish
cathedrals this chapel is called the Lady Chapel. Apsidal chapels exist at
Tewkesbury Abbey, Westminster Abbey, and in the crypt of Gloucester
Cathedral. ILLUS.<=
span
lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'>
|
|
Chr. The chair occupied by bishops in the early
Christian basilicas. (1883m1) |
|
The Accadian w=
ord
from which the name of the Greco-Babylonian deity Ap=
ason
was derived. (1876c1) |
|
That
part of |
|
The Egyptian name of the hippopotamus. (18=
76c1) |
|
The Egyptian sacred name of the city of |
|
The Egyptian name of the Southern extremit=
y of
the world. The idea intended to be conveyed is similar to that in the nam=
es
of Capes Finisterre and Lands End.(1876c1) |
|
A name of the god Anu=
bis,
as conductor of the souls on the road to the lower world, and under which
title he was worshipped in |
|
Arch. Without wings. A temple without columns on the sides. (1883m1) |
|
(Arch.) A name given to ancient temples which have no lateral colonnades. (1891a1) |
|
An unidentified Egyptian city, which was
vainly held by the rebel chiefs against Piankhi Meramon of the XXVIth d=
ynasty.
(1876c1) |
|
An old Egyptian name of the city of |
|
The son of an Egyptian king, but of what k=
ing
it is not known. (1876c1) |
|
The wife of Sennofre<=
/span>,
and the mother of Bekenamun, a royal scribe a=
nd
state officer of one of the kings of the XVIIIth
dynasty. (1876c1) |
|
The wife of Uetu,
the chief of the Keneb. See Uetu. (1876c1) |
|
An Egyptian lady, the mother of Penteni the priest of Anhur,
and wife of Tatai who was a priest of Anhur likewise. (1876c1) |
|
Ap-uat - literally "=
;the
opener of the ways." He is one of the forms of =
Anubis,
and was worshipped at Asyût. His office=
was
to introduce the souls of the departed into the "divine hidden
land." (See ANUBIS.) (19=
02b1) |
|
The son of the royal officer Piai, of the XVIIIth dy=
nasty.
He was more generally called by his surname Amenemap=
.
(1876c1) |
|
The Egyptian name of an unidentified town =
in |