$H Ar. Egypt

An Egyptian land measure or square. It was another form of the Aroura. (1876c1)

$H Ara. Egypt

The wife of Thothmes<= /span> IV. of the XVIIIth dynasty. (1876c1)

$H Ara, R. The Lati= n term for ALTAR. (See this word and ALTARE.) (1883m1)

$H Arabesque.

Arabesque. Gen. An o= rnament of a pattern more or less intricate, composed of stems, foliage, leaves, fruits, scrolls, or leafage, as well as of curious and fantastic animals.= It is an error to suppose that arabesque, as its name might seem to indicate, was an Arab invention; it was known to the Greeks and Romans, and was lar= gely employed in Graeco‑Roman architecture. (1883m1)

Arabesque. A system of ornament consisting of wreaths of foliage and realistic or fantastic figures, combined in an absolutely capricious styl= e, delicately interlaced and describing graceful curves. In the Arabian style Arabesques are composed entirely of ornaments drawn from the vegetable kingdom, for representations of men and animals were forbidden by the prophet. In the style of the Renaissance Arabesques were wonderfully rich= and elegant. Raphael employed this system of ornament in the decoration of the Loggia at the Vati= can. It is a mistake to apply the term Arabesque to the friezes of buildings belonging to the Roman period. The regular bands of ornament in vogue at = this period can only be termed foliage. ILLUS. arabesq1, arabesq2 (1891a1)

&nbs= p; &= nbsp;

Arabesque,= or Moresque. Ornamen= ts with which the Arabs adorned the walls, ceilings, and floors of their bui= ldings; fruits, flowers, mathematical figures, in short, everything except the fo= rms of men and animals, which were forbidden by the prophet, were thus fantas= tically used by them. This style of ornament, which we find, for example, in the = Alhambra, was no= t the invention of the Arabians; the ancients had already employed it in profus= ion; they, therefore, merely modified its fanciful convolutions in accordance = to their taste and creed. According to Vitruvius, it had its origin in Rome at a time w= hen the riches and luxury of the Romans, together with Oriental influence, had corrupted general taste. It is not easy to trace its gradual decay during= the invasion of barbarism, but traces are found of it in the later times of t= he Greek empire. While classic Art was forgotten, the arabesque style was perfected by the Arabians and the Germanic nations. Ancient arabesque aro= se when Classical Art was declining; the modern rose again in the blooming period= of modern Art, and was awakened from her sleep by the greatest of her masters. From= the discovery of the paintings in the baths of Titus may be dated a new epoch= in the history of ornamental Art, when Raffaelle gave a new and loftier dire= ction to taste, and arabesque won its highest triumph in the Loggia of the Vatican<= /st1:place>, a portion of which is given in our cut. This Art owes its great success t= o Raffaelle's idea of introducing allegory in the composition; thus, giving poetical la= nguage to that which was before only a pleasure to the eyes, his genius produced= an ensemble which surpassed everyth= ing which had preceded it in beauty. After his time the arabesque degenerated both in invention and composition. In France it reached its clima= x in the reign of Louis XIV., whose love of splendour and gaudy display gave t= he most unlicensed freedom to the decorative artists he employed, who overlo= aded their designs with decorative convolutions until meaning and propriety was entirely sacrificed and the eye insufferably wearied. In ornamental Art, = arabesque deserves the most extensive cultivation, but it draws upon higher resourc= es than are possessed by the majority of modern artists; the only one who, to our knowledge, has succeeded, is the German artist, Eugene Neureuther, wh= ose arabesques in the Glyptothek at Munich are worthy of any age. For the Moo= rish arabesques, the student should consult The Alhambra, by Owen Jones; for the ancient, Zahn's Ornamente aller Classichen Kunstepochen, and Ornament und Merkwürdigsten Gemälde von Pompeii Hercula= neum und Stabia; and for the modern, Gruner's Frescoes and Stuccoes of the Churches and Palaces of Italy. <= /span>FIGURE (1855f1)

$H Arabian = Nome. Egypt

The name applied by the Greeks to the city= and nome of Sept Achem, the twentieth nome of Lowe= r Egypt. Its chief town was Phacusa East of the Nile. The deities specially worshipped there were= Horus under the figure of a sitting hawk with two u= pright plumes on his head, and the goddess Sekhet un= der the name of Soupt Sekhet= . See also Soupt. (1876c1)

$H Arab Pottery. (See GARGOULETT= E.) (1883m1)

$H Arachosia.

A great city on the Southern road from Babylon to India. It was more famous in early mediaeval than in Archaic history. (1876c1)

$H Arachotia. Persia

A rich district of = Persia, which was bravely h= eld for Darius Hystaspes by the Satrap Vibanus. (1876c1)

$H Aradus.

Se= e Areta. (1876c1)

$H Araeostyle. Architecture

Arch. An order of te= mples, in which the space between the columns is four diameters in width. (1883m= 1)

(Arch.) A temple is called araeostyle, when the dist= ance between its columns is more than three times the diameter of the column. (1891a1)

$H Araeosystyle.= Architecture

(Arch.) A term applied to an arrangement of columns set = two and two together, having half a diameter for the smaller interval, and th= ree and a half diameters for the larger. (1891a1)

$H Arakh-Makru. = "The Incidental Month." Assyria

Arakh-Makru. "The Incidental Month." The intercalary month of the Assyrian year. It was sacred to the deity Assur,= and was called by the Accadians Sedir, "Dark (Month) of Sowing." It= was the Ve Adar of the Jews. (1876c1)

$H Arakh-Samna. = "The Eighth Month." Assyria

Arakh-Samna. "The Eighth Month." The eighth month of the Assyrian year. It was sacred to the god Marduk, and was call= ed by the Accadians Apinama, "The Bull-like Founder." It answered roughly to our October. (1876c1)

$H Arakhtu. Assyria

The Assyrian name of the river Araxes, a confluent of the E= uphrates. It was called by the Accadians Gukhande. It runs in a deep valley towards Arabia, and is conjectured to have been = the Gihon of the Hebrew writers which compassed the who= le land of Cush. (1876c1)

$H Arakhu. Babylon

A Babylonian prince, the son of Haldita. He claimed himself to have been Nabukuduruzur, the son of Nabo= nahid, and revolted against Darius Hystaspes, by who= se general, Intaphres, he was defeated, and the = city of Babylon again taken by assault. (1876c1)

$H Aram.

A king of Ararat, who was conquered, toget= her with his people, by Shalmaneser II. (1876c1)<= o:p>

$H Arana. Egypt

The Egyptian name of the district in Palestine which = was called Eglon by the Hebrew writers. (1876c1)<= o:p>

$H Arar. Egypt

Name of the Uraeus, the serpent which was worn on = the forehead of gods and kings. It was an emblem of divinity and royalty. (See URAEUS.) ILLU= S. Serpent. (1902b1)

$H Arasti.

The chief of the city of Ammali, n= ear the river Turnat, or Tornado= tus. He was conquered by Assurnazirpal. (1876c1)

$H Arat. Egypt

A consort of Thothmes= IV. of the XVIIIth dynasty. (1876c1)

$H Arattu.

A Syrian town, which was conquered by Thothmes III. of the XVIIIth dynasty. = (1876c1)

$H Arauta. Egypt

The Mer of the twelfth, or Ka-she nom= e of Lower Egypt. (1876c1)

$H Arazias.

A kingdom in Media, where Munirzuarta its chief, and 1070 of his warriors were slain= by Samsivul or Samas Rimmon III. (1876c1)

$H Arbaces.

A Median chief, who combined with the Susianian chiefs to overthrow Nineveh in the reign of Assuracus. He was successful in his revolt, a= nd established a republic in Media, over which he was the chief governor for twenty-eight years. He was succeeded by Mandauces. (Lenormant.) (1876c1)

$H Arbacha.

A city or district of which Assurituduri was prefect under Tiglath Pileser I. and Sargon II. (1876c1)=

$H Arbaha.

A city in the South of Assyria, which supported Assurdainpal in his revolt against = his father, Shalmaneser II. (1876c1)

$H Arbaki.

A city (in Mesopota= mia?) which was conquered, together with 250 other towns subjacent, by Assurnazirpal. (1876c1)

$H Arbalest, Albalista. Mediaeval

Arbalest. (S= ee CROSSBOW.) (1883m1)

Arbalest, Albalista. A cross‑bow. (1883m1)

Arbalest. The name given in the Middle Ages to the cross‑bow= , a weapon which was invented by the Romans in the East, and called by them <= span class=3DSpellE>arca‑balista= . It was introduced into England at the Norman Conquest, but its use was prohibited by the Church in 1139. Richard I. reintroduced the arbalest into England, and was killed by = one as a judgment, it is said, for using a prohibited weapon "in defiance of God." (1891a1)

Arbalest. = The name generally applied in the middle ages to the cross-bows (arca-bali= sta) carried by soldiers; their great expertness in the use of which gave them much celebrity, and rendered it a deadly weapon in their hands; it was frequently of large size, and weight, and of so powerful a tension, that = the bow was required to be drawn to the trigger by an iron wheel (moulinet), carried, when not in = use, at the soldier's girdle, which wheel was set in motion by a double handle, the bow being held firm by a stirrup for the foot placed on one end. (See CROSS-BOW.) (1855f1)

$H Arbastutanif.<= /span> Egypt

A daughter of King Takelothis I. of the = XXIInd dynasty. (1876c1)

$H Arbasutanifu.<= /span> Egypt

A daughter of King Am= enrut, of the XXVIIIth dynasty. (1876c1)<= /span>

$H Arbela. Assyria

A chief city in the mountains East of Assy= ria, which was famous for being the favourite resi= dence of the goddess Ishtar, and was often rebuilt = by the Assyrian monarchs. See Ishtar. (1876c1)

$H Arbelus.

The form in which the name of the city of = Arbela is preserved as that of a king in the history of Moses of Khorene. (1876c1)

$H Arca. Roman

Arca. R. (arceo, to enclose, preserve).

(1) A kind of box or= strong chest used by the ancients as a receptacle for money, clothes, or any valuable effects.

(2) A strong box or = money chest;

(3) a rough chest us= ed for a coffin;

(4) a cage for crimi= nals, made of oak;

(5) a wooden caisson, answering the purpose of a modern coffer‑dam. (1883= m1)

Arca. (Lat.) A chest or coffer in which= the Romans placed their money or goods. A wooden coffin for the dead. (1855f1= )

$H Arcade. Architecture

Arcade. A series = of arches. (1883m1)

Arcade. A series of arches supported on colum= ns, as in a cloister, or the substructure of a house, as an ambulatory; when used for the decoration of a wall either in the interior, or on the exterior, = of a building, they were closed in with masonry.(1855f1)

Arcade. (Ar= ch.) A series of arches, which are employed for decorative purposes chiefly in buildings of the Pointed style. The term includes the large arches and pi= ers which in many English cathedrals separate the aisles from the nave; but i= t is especially applied to series of arches which decorate the space under the windows either within or without the building. Sometimes arcades are set = right against the wall, sometimes they are detached = so that there is a clear space behind them. When set near the ground they frequently project so as to form sedilia. An arcade sometimes occupies the triforium space (q.v.), an instance of which may be= seen in the Temple Church. Finally, as a system of ornament, small arcades are found on fonts, altars, &c. ILLUS. arcade (1891a1)

$H Arcadi.

A Literary Academy established at Rome in 1690. The members adopted pas= toral names. Their device was a Pandaean pipe, surr= ounded by a wreath of olive and pine. (1883m1)

$H Arcatures. Architecture

Arch. A series of bl= ind arcades represented on a wall, in relief or painting. Carved arcatures are those forming a kind of screen; they = are detached from the wall, and have an inner and outer face. (1883m1)

$H Arcera. Roman

R. A cart boarded al= l over so as to resemble a huge chest (arca). The inmate reclined on cushions and pillows covered with drapery; and the exterior was c= overed with hangings, the richness of which varied with the rank and fortune of = the owner. (1883m1)

$H Arch. Architecture

Although the Egyptians were acquainted with the arch they but rarely used it. The earliest specimen of a true arch is found in a= IVth Dynasty mastaba at= Medûm. (1902b1)

Arch (arcus<= /i>, a bow). A structure the form of which is ba= sed on the segment of a circle. The kinds of arches are named according to the c= urve which they make. Round‑head= ed arches; semicircular, segmental or stilted, introduced by the Romans.= Triangular arches, of very early= date. Horse‑shoe arches; the Moorish, the common horse‑shoe and the pointed (which is also a Moo= rish form). Then the trefoil arch = of the Early English style: with its variations, including the square‑head= ed trefoil of the 13th century. The = lancet or acute‑pointed; the equil= ateral; the pointed trefoil; the ogee, of the 14th and 15th centu= ry; the Tudor arch, of the reigns= of Henry VII. and VIII.; and the decorative forms= , not used in construction; the flamboy= ant, the cinquefoil and the multifoil are all described under the headings printed above in Italics. (1883m1)

Arch. (Arch.) An arch is a solid construction composed of separate stones or bricks, so arranged that their lower surfaces shall fo= rm the arc of a curve. The origin of the arch is unknown, but it was first brought into general use by the Romans. The earliest known instance of an arch is in the Cloaca Maxima at Rome. The pointed arch first made its appearance in Western Europe about the= end of the 12th century, and is held by some writers on architecture to have = been suggested by the interlacing of round arches in arcades. In all probabili= ty, however, it was previously known, and was adopted because it was not only beautiful but practical. The arch is the distinguishing characteristic of Gothic architecture. The highest point of an arch is called the crown or vertex; the lowest line is termed the springing line; the spaces between the vertex and the springi= ng line are called the flanks. T= he upper and lower surfaces of an arch are called the extrados and intrados= respectively. The piers of an arch are termed a= butments or springing walls. The stone= s of which an arch is composed are termed voussoirs, and the top stone of all, the keystone. ‑ The term arch is also applied to the vaul= t of a bridge. The highest and largest arch in a bridge is called the main arch,= and occupies the centre of the bridge. 2 ILLUS. arch1a, arch1b (1891a1)

       &nbs= p;            &= nbsp;           &nbs= p;

--- $H Arch, Angul= ar.    Architecture

An arch formed by the inclination of straight lines to o= ne another at an angle. ILLUS. arch2ang (1891a1)<= o:p>

--- $H Arch, Baske= t‑handle.    Architecture

An arch for= med by the segments of three circles meeting each other. ILLUS. arch2bas (1891a1)

--- $H Arch, Byzantine.    [See Arch, Hors= eshoe.] (1891a1) Architecture

--- $H Arch, Catenarian.    Architecture

An arch in the form of an inverted = catenary, a catenary being a mechanical curve, which a flexible body of uniform density would form itself into, if freely hung f= rom its two extremities. (1891a1)

--- $H Arch, Contr= asted.    [See Arch, Ogee= .] (1891a1) Architecture

--- $H Arch, Depressed.    Architecture

A flat‑headed opening with the angles rounded off = into segments of circles, frequently met with in the Perpendicular style of architecture. ILLUS.<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'> arch2dep (1891a1)

--- $H Arch, Disch= arging, or Relieving.    Architecture

An arch placed over a a lintel of stone, wood or iron, the object of whic= h is to relieve the lintel from the weight placed upon it. ILLUS. arch2dis (1891a1)

--- $H Arch, Elliptic.    Architecture

An arch which is in the form of a segment of an ellipse. (1891a1)

--- $H Arch, Extradossed.    Architecture

An arch the voussoirs of whi= ch are pierced, and of which the intrados and extrados (q.v.) are determined by segments of concentric circles. (1891a1)

--- $H Arch, Four&= #8209;centred.    Architecture

An arch with four centres, two of which are on the springing line and two below. These four centres = may be determined by describing a square under the springing line, each of its sides being equal to one‑third the springing line. This arch was characteristic of the Tudor style in England, which took its ris= e in the reign of Henry VII. ILLUS. arch2fou (1891a1)<= o:p>

--- $H Arch, Horse= ‑shoe.    Architecture

An arch which consists of a segment of a circle, greater than a semicircle. ILLUS. arch2hor (1891a1)<= o:p>

--- $H Arch, Multifoil. &nbs= p; Architecture

An arch formed of many foils or segments of circles. ILLUS. arch2mul (1891a1)

--- $H Arch, Ogee.=     Architecture

An arch with four centres, two of which are in or near t= he springing line, the other two above the arch. It is called an ogee arch because each of its fl= anks exactly resembles the contour of the ogee moulding. The monuments of the = 15th and 16th century belonging to the Perpendicular or Flamboyant style afford many examples of the ogee arch. 2 ILLUS. arch2og1, arch= 2og2 (1891a1)<= o:p>

       &nbs= p;            &= nbsp;

--- $H Arch, Point= ed.    Architecture

An arch formed by two segments of circles, which make an angle at their intersection. Pointed arches are of three kinds: 1. The equilateral arch, i.e. described= from two centres, which are the whole breadth of the arch from one another, and form the arch about an equilateral triangle (illustrated at bottom of opposite page). 2. The drop a= rch, which has its radius shorter than the breadth of the arch, and is describ= ed about an obtuse‑angled triangle. 3. The lancet arch, which has a radius longer than the breadth of the arch, and is described about an acute‑angled triangle. 3 ILLUS. arch2po1, arch2po2, arch2po3 (1891a1)

       &nbs= p;            &= nbsp;             &nbs= p;            <= /span>

--- $H Arch, Rampa= nt.    Architecture

An arch the imposts (q.v.) of which are placed at differ= ent heights. These arches have frequently been employed in Gothic architecture and in the construction of piers from flying buttresses. ILLUS. arch2ram (1891a1)

--- $H Arch, Reversed.    Architecture

An arch built in the reverse direction to ordinary arche= s. It serves to connect separate piles of masonry, and is frequently employe= d to strengthen the foundations of a wall and for other structural purposes. <= /span>ILLUS. arch2rev (1891a1)

--- $H Arch, Semic= ircular.    Architecture

An arch in the form of a semicircle; it has its centre in the springing line. ILLUS. arch2sem (1891a1)<= o:p>

--- $H Arch, Slopi= ng.     [See Arch, Weat= hering.] Architecture (1891a1)

--- $H Arch, Stilt= ed, or Surmounted.    Architecture

An arch enclosing a figure made up of a semicircle stand= ing on a rectangle, the centre of the circle thus lying in the upper side of = the rectangle. ILLUS.<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'> arch2sti (1891a1)

--- $H Arch, Surbased.  = ; Architecture

An arch is = termed surbased when it is less than a semicircle. i= .e., when the height from its spring to its crown is less than half its span. (1891a1)

--- $H Arch, Trefo= il.    Architecture

An arch formed of three foils or segments of circles. (1891a1)

--- $H Arch, Trium= phal.    Architecture

A monument to commemorate a victory, consisting of one l= arge archway flanked very often by two smaller ones, surrounded with pilasters, and decorated with allegorical bas‑reliefs. Among the triumphal arc= hes of the Roman period we may mention those of Trajan, Septimus Severus, Augustus, and Constantine, while among those of quite recent construction= the most famous is that which stands in the Place de l'&= Eacute;toile, in Paris. The latter was erected in honour of the Grande Arm&eacut= e;e, and is decorated with a fine bas‑relief by Rude. ILLUS. arch2tri (1891a1)

--- $H Arch, Tudor= .    [See Arch, Four= ‑centred.] (1891a1) Architecture

--- $H Arch, Weathering.    Architecture

An arch included between two planes, the one vertical, <= span class=3DGramE>the other oblique. It is often met within a sustaini= ng wall or the wall of a fortified castle. ILLUS. arch2wea (1891a1)

--- $H Arch, Zigza= g.    Architecture

An arch of which the extrados is cut into a zigzag patte= rn. (1891a1)

$H Archaeological.

That which relates to archaeology. (1891a1)

$H Archaeologist.

One who devotes himself to the study of archaeology. (1891a1)

$H Archaeology.

Archaeology. The science of antiquity, the object of which is t= he study of all that relates to the arts and monuments of former times. It includes the study of the styles of every period and every people. It is = also concerned in the reconstruction of the buildings, the social state, and t= he manners and customs of preceding generations by the documentary evidence furnished by ruins or the remains of monuments which have come down to us from early times. (1891a1)

Archaeolog= y, in general, means the knowledge of antiquity, but, in a narrower sense, the science which inquires into and discovers the mental life of ancient nati= ons from their monuments, whether literary, artistical, or mechanical. Artist= ic archaeology treats of remains as works of the fine Arts, in those two nations which w= ere models in Art, the Greeks and Romans; besides these the artistic producti= ons of the Persians, Egyptians, Babylonians, and Indians, take an honourable place in the archaeology of Art. According to Grüber, artistic archa= eology may be divided as follows: 1. His= torico-literary examinations of the works still existing in museums, galleries, and priva= te collections; the analytical method gives in this the best guide. 2. The Technology of the antique regard= ed as Art-history, and explaining style, method, and the treatment of works of = Art according to the different epochs. 3. The Criticism of Art, which teaches the principles by which the antique is to be tried = or decided as belonging to a certain period of Art. 4. The Interpretation of Art, which explains the symbolical part of ancient Art and artist's fables, the manner of treating the meaning of ancient works of Art, and the necessary aids, mythology, history, antiquities. 5. The AEsthetics of the antique, by which we comprehend the spirit of antiques (deciding their disposition, action, and expression), and showing us pure beauty, awakens= and animates the feeling of it. The aesthetics of the antique displays the ci= rcle of the gods and heroes as the types of humanity, souls made visible in bodies, according to various ideals of sex and age, from the exalted divi= nity of a Jupiter to a satyr, where human nature is lost in that of the animal. While aesthetics are essential to archaeology, in pointing out the pure taste, the noble simplicity, and the perfect appropriateness of these creations of Art, they are also employed in a higher kind of criticism. S= ee Müller's Ancient Art and its Remains, translated by Leitch, Winckelman's History of Ancient Art, Panofka's Man= ners and Customs of the Greeks, the works of Gell, Stuart, Revett, Taylor, Combe, Millengen, and others. (1855f1)

$H Archaeology of Art.

Archaeology of art is that particular branch of archaeol= ogy which is concerned with the study of the monuments of the art of antiquit= y, the Middle Ages, and the Renaissance. It includes the study of architectu= re, painting, sculpture, engraving, numismatics, i.e. coins and medals, iconography, i.e. the portraits of illustrious men, and glyptics, i.e. engraved stones. The archaeology of art includes the whole history of the fine arts from the most remote times. (1891a1)

$H Archaic.

Archaic (art). The f= irst period of Art is distinguished by stiffness and conventionality of treatm= ent, directed much more to the symbolic representation of an idea than to beau= ty or true imitation. It is properly called also the hieratic type, from its intimate relation to religious symbol= ism. See SELINUNTIAN; AEGINETAN MARBLES. (1883m1)

Archaic. When a monument is said to be decidedly archaic= in style, it means that it presents the characteristics of primitive art. The object of archaic studies is to discover the methods and processes of the ancients, and so to render possible the production of works not exactly l= ike those of the ancients, but possessing numerous points of similarity with them. We say, too, that a picture is conceived in an archaic spirit when = it recalls to us some ancient work, and reminds us of the productions of generations long since passed away. (1891a1)

Archaic. Peculiar to remote antiquity; characteristic of early Art and its restricted power. Such as the examples engraved on p. 48 in ancient Art; and the more modern one from the Bayeux Tapestry in our account of that work. (1855f1)=

$H Archaism.

The imitation of the methods and processes of the ancien= ts. Archaism is a danger in the arts of design, and should seldom be employed except in the restoration and reconstruction of works of ancient art. (1891a1)

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

A chief city in the H= ennopolite, or the fifteenth nome, of Upper Egypt. (1876c1)

$H Archangels.    Christian

Archangels. The seven angels who stand in the presence of God.= In Christian art they are represented with the following attributes: ‑= Michael bears the sword and scal= es; Gabriel, the lily; Raphael, the pilgrim's staff and gourd; Uriel, a roll and a book; Chamuel, a= cup and a staff; Zophiel, a flaming sword; and Zadkiel= , the sacrificial knife. (1891a1= )

Archangels. The seve= n angels of the Christian hierarchy who stand in the presence of God. St. Michael, sometimes in comple= te armour, bears a sword and scales, as the Angel of Judgment, also a rod with a cross; St. Raphael bears a fish, and a pilgrim's staff and gourd; St. Gabriel bears a lily; Uriel c= arries a parchment roll and a book, as the interpreter of prophecies; Chamuel= bears a cup and a staff; Zophiel a flaming sword; and Zadchiel the sacrificial knife which he took from Abraham. The Archangels are generally represented with the nimbus, and clothed as princes and warrior= s; their ensign is a banner and cross, and they are armed with a sword and a dart in one hand. (1883m1)

Archangels. Under the head of ANGELS it was stated that the heavenly host is divided into t= hree hierarchies: archangels belong to the third; they are the seven angels who stand in the presence of God; they are his extraordinary ambassadors; they are adorers, ministers, protectors, avengers, remunerators: in all these functions they are generally nimbed, and have their feet naked, as the ap= ostles and divine persons; their ensign is a banner on a cross, as representing Victory; they are usually depicted clothed as princes and warriors, with breastplates of gold, coronets, and crosses on their foreheads, to show t= hat they warred against the devil and his angels, and armed with a sword, or dart, in one hand. The names of the seven archangels are Michael (Who is like unto God?), Gabriel = (God is my Strength), Raphael (the Medicine of God), Uriel (the= Light of God), Chamuel, Zophiel, and Zadchiel; only the first four are individualised in the Scriptures. Their attributes are,- St. Michael, som= etimes in complete armour, bears a sword and a pair of scales, as the Angel of Judgment; also a rod, with a cross flory at the upper end; St. Raphael bears a fish, and, as a traveller, carries a pilgrim's staff and a gourd; St. Gabriel bears a lily; Uriel carries a parchment roll and a book, as the interpreter of prophecies; Chamuel bear= s a cup and a staff; Zophiel, a flaming sword; and Zadchiel, the sacrificial knife which he took from Abraham. The seven archangels are introduced in = some of the most beautiful works of Christian Art, such as "The Last Judgment," the "Crucifixion," and in the "Pietà," bearing the instruments of the Passion: they ap= pear individually in other works, as in the "Expulsion," "The Sacrifice of Abraham," The Annunciation," &c.(1855f1)

$H Arched, Archy.    Heraldry

Her. Bent or bowed. (1883m1)

$H Arched‑buttress or Flying Buttress.=     Architecture

Arch. An incomplete = arch supporting the spandrels of a roof. It springs from a BUTTRESS (q.v.). (1883m1)

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

A Greek name in the canon of Ptolemy, whic= h is supposed to have been a corrupted form of that of Sargon II. (1876c1)

$H Archeria.    Mediaeval

Med. Lat. A vertical loophole from which arrows could be discharged. (1883m1)

$H Archibault.     (See ARCHIVOLT.= ) (1883m1)

$H Architect.

An artist who designs a building and superintends its construction. (1891a1)

$H Architects.      Egypt

Since architecture was E= gypt's principal art, all others being more or less accessor= y or subsidiary, it is natural that of all artists the architects should ha= ve been most honoured. The names of many are recorded on stelae in museums and in tombs. The office sometimes appears to have been hereditary, and sometimes even a royal prince did not disdain to take the office of “chief of all the constructions of Upper and Lower Egypt,” the holder of which was appar= ently highly honoured by the king. At times it was combined with the priestly office, as in the case of Bak-en-Khensu, first prophet of Amen, and principal architect at Thebes<= /st1:City> under Seti I. and Ramses II., whose sepulchral statue is preserved at Munich. The most famous architect whose name has come down to us is Sen-mut, the favourite of Hats= hepsut, and builder of Dêr-el-Bahri. (1902b1)

$H Architectural.

That which is concerned with architecture. (1891a1)=

$H Architectural Painter.

A painter who only executes pictures which are architect= ural in subject. Among architectural painters we may mention the Dutchmen, Van= der Heyden and De Witte= , the Italians, Bellini and Ca= naletti, and the Englishman, Samuel Prout. (1891a1)

$H Architectural Painting.

Architectural Painting. The principal kind of painting of inanimate objects, representing the creations of man, surrounded by nature, or independent of her. This branch of Art gives us great or small buildings, either single = or grouped together, their exteriors or interiors, their details, proportion= s, and characteristics, according to the rules of perspective. Architectural= painting has done much for the AEsthetics of Art, and = also for its history, in perpetuating the features of architectural monuments which may disappear under the touch of time. It is therefore important to= the future historian of Art; and many an architectural painting has thus beco= me useful to us at the present day. With the addition of natural features, appropriately and tastefully introduced, such paintings are useful as vie= ws. Among those artists who have devoted themselves particularly to architect= ural painting the most eminent are Gentile Bellini= and V. Carpaccio. Later, but much inferior in truthfulness, Canaletti and Claude. Among our contemporaries who have practised successfull= y this branch of painting, we may mention Turner, Roberts, = Prout, Stanfield, Cattermole, Harding, Nash, and Haghe. Architectural painting has recently made great progress in Germany, through the works = of A. von Behr, W. Gail, D. Quaglio, M. Nether, R. = Weigmann, H. Kintze, K.= F. W. Kloes, E. Dietrich, G. Pulian<= /span>, Dyck, and A. Hermann. (1855f1)

$H Architecture.

Architecture. The art of designing and constructing buildings. Architecture should keep in view above all things the permanence of a building and the purpose to which it is to be put. Though it belongs as m= uch to the domain of science as to that of art, the study necessary to enable= the architect to realise the conditions we have named is subordinated to the demands of art. (1891a1)

Architecture. The Art of designing and executing buildings of all kinds; in its results one= of the most important of the fine Arts to mankind, demanding great and varied qualifications from those who would practise it perfectly, and applicable= to the comforts and necessities, real and imaginary, of all people and countries. It has been well said that "Architecture is both a Science and an Art, and has been cultivated in either way with great but doubtful success; the aimer at mere science often degenerating into a skilful arti= san; and the boaster of pictorial skill into a mere theorist. To the skill of = the practical mathematician, mechanic, chemist, philosopher, must be added th= e genius and feelings of the artist, to go towards the completion of such men as Palladio and Wren." (1855f1)

--- $H Architecture, Civil.

Architecture, Civil. The art of architecture applied to the construction of civil buildings either public= or private. (1891a1)

--- $H Architecture, False.

Architecture, False. A decorat= ive painting or theatrical decoration, which attempts to represent the relief= of a real building just as it would appear at the same distance as that at w= hich the spectator is placed from the painting or decoration. (1891a1)

--- $H Architecture, Military.

Architecture, Military.= Architect= ure applied to military constructions. (1891a1)

--- $H Architecture, Religious.

Architecture, Religious= . The art of architecture applied to religious constructions. (1891a1)

$H Architrave.    Architecture, Greek & Roman

Gr. and R. (= •D= PÎ= H[=3Darchos], chief; and Ital. trave, a bea= m). That part of a structure which rests immediate= ly on the capital of a column or pilaster. Architraves are surmounted by a frie= ze and a cornice. (1883m1)

(Arch.) The lower part of the entablature. The architrav= e is placed directly on the capital with a free bearing from Column to column = or pilaster to pilaster. In the Doric order the architrave is simply one smo= oth block. In the Ionic order it is composed of three blocks, each jutting slightly beyond the one underneath it. Generally speaking the architrave = is unornamented, so as to form a contrast to the rich decoration of the frie= ze. This simplicity renders it quite clear that the purpose of this portion of the entablature is to form a horizontal connection between the vertical supports of the structure. ILLUS. architra (1891a1)

$H Archivium.    Greek & Roman

Gr. and R. A buildin= g in which archives (charters and records) of a city or state were deposited. = It was also called ARCHEION or TABULARIUM (q.v.). (1883m1)=

$H Archivolt or Archibault.<= /span>    Architecture

Archivolt or Archibault, (arcus, and volutus, rolled round). The whole of the mouldings decorating an arch or arcade, and followi= ng the contour of the same. (1883m1)

Archivolt. (Arch.) A moulding decorating an arch and corresponding exactly to the contour of the arch. In ancient architecture= the archivolt only decorates one side of an arch. In buildings of the Gothic style, however, the same moulding is generally repeated on each side of t= he arch. The outline of the archivolt varied considerably in the different periods of Gothic architecture. In the 13th century it is of the utmost simplicity; in the 14th century it is decorated with astragals, and in the 15th century is deeply cut out. In the Arabian style archivolts frequentl= y consist of stucco traceries. The term archivolt is frequently used by mediaeval writers to mean a mere vault. 2 ILLUS. archivo1, archivo2 (1891a1)

       &nbs= p;            &= nbsp;           &nbs= p;      =

$H Archlute.    Old English

old Eng. A kind of theorbo, or double‑necked lute. 16th century. (1883m1)

$H Archway.    Architecture

(Arch.) A circular opening which assumes the various for= ms of the arch. ILLUS.<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'> archway (1891a1)

--- Archway, Twin<= span style=3D'mso-spacerun:yes'>

Archway, Twin. <= /b>An opening= which presents the appearance of two archways of similar dimensions, placed sid= e by side, or an opening formed by two semi‑circles, which touch at one = of their extremities. ILLUS. archwayt (1891a1)

$H Archy.    (See ARCHED.) (1883m1)

$H Arcosolium.    Christian

Chr. (arcus<= /i>, and solium, a coffin). An arched or vaulted sepulchral chamber in the catacombs, sanctified by the interment of martyrs and holy persons; and in later generations often richly decorated, as with marble incrustations, paintings, and mosaics. The arcosolia in which Christians of small means were buri= ed are constructed in the walls of the passages in the catacombs. The wealth= ier Christians, however, had arcosolia specially excavated for their family and friends; the following inscription is frequently found on them: Nobis et nostris et amicis. (1883m1)

$H Arcs doubleaux.    [See Ribs, Tran= sverse.] (1891a1)<= /h1>

$H Arcuatio.    Roman

R. A structure forme= d by means of arches or arcades, and employed to support a construction of any kind, such as a bridge, aqueducts, &c. (1883m1)

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

R. (= $V= 8= 8T[=3Dballo], to throw). A machine for hurling arrows, somewhat similar= to a cross‑bow. (1883m1)

$H Arcubus.    (See ARQUEBUS.) (1883m1, 1855f1)

$H Arcula.    Roman

R. Diminutive of ARCA (q.v.). (1) A small chest. (2) A colour‑bo= x used by encaustic painters. (3) A small sepulchre, or stone coffin. (1883m1)

$H Arculum.    Roman

R. A garland which t= he Dialis = (Priest of Jupiter) wore on his head while sacrificing; it consisted of one or two pomegranate boughs bent into a circle and fastened with fillets of white = or red wool. (1883m1)

$H Arcuma.    Roman

R. A small carriage constructed to hold only one person. (See PLAUSTRUM, CHIRAMAXIUM, VEHICUL= UM.) (1883m1)

$H Arcus.    Roman

Arcus. R.

(1) A bow for discha= rging arrows. There were many kinds in use among the ancients. Those of the Gre= eks and Romans presented on the whole much analogy with each other, while the Scythian bow differed entirely from both.

(2) An arch of mason= ry; the arcus triumphalis was a trimphal arch. The Romans never used any other form of arch than the semi‑circle. (1883m1)=

Arcus. (Lat.) The bow used by the nation= s of antiquity for shooting arrows. (See Bow.) (1855f1)

$H Ardara.

A king of the country of the Ustassai, who paid tribute to = Samas Rimmon, or Samsivul III., king of Assyria. (1876c1)

$H Ardasari.     Assyria

The king of Surdira, a district East of Assyria, which was conquered by D= ayan-Assur the Tartan of Shalmaneser II. (1876c1)

$H Ardates.

According to Berosus<= /span> the Greek name of the father of the hero of the Flood. See Ubaratatu. (1876c1)

$H Ardenti.

Literary Academies of this name existed at Pisa, at Naples, and at Viterbo. (1883m1)

$H Ardorach of Sippara.     Babylon

According to Berosus<= /span> the seventh antediluvian king of Babylon. See Ened= areschus. (1876c1)

$H Ardshir.      Persia

A Persian form of the royal name Artaxerxes, which see. (1876c1)

$H Ardusin.      Babylon

An early king of Babylonia, the son of Kudur Mabuk, under whom= he reigned as Viceroy in Babylonia. He er= ected a great wall around the city of Ur to prevent the invasions of the nomadic tribes, and built several temples= to the Babylonian divinities. His name is now read as E= ri Agu, or Rim-Agu. = (1876c1)

$H Ardys.      Lydia

Son of Gyges, = king of Lydia. He presented his submission to Assurbanipal, = king of Assyria, who confirmed him on the t= hrone of his father. (1876c1)

$H Ar. Egypt

$H Ara. Egypt

$H Ara, R. The Lati= n term for ALTAR. (See this word and ALTARE.) (1883m1)

$H Arabesque.

$H Arab Pottery. (See GARGOULETT= E.) (1883m1)

$H Arachosia. A great city on the Southern road from Babylon to India. It was more famous in early mediaeval than in Archaic history. (1876c1)

$H Arachotia. Persia

$H Aradus.

$H Araeostyle. Architecture

$H Araeosystyle.= Architecture

$H Arakh-Makru. = "The Incidental Month." Assyria

$H Arakh-Samna. = "The Eighth Month." Assyria

$H Arakhtu. Assyria

$H Arakhu. Babylon

$H Aram.

$H Arana. Egypt

$H Arar. Egypt

$H Arasti.

$H Arat. Egypt

$H Arattu.

$H Arauta. Egypt

$H Arazias.

$H Arbaces.

$H Arbacha.

$H Arbaha.

$H Arbaki.

$H Arbalest, Albalista. Mediaeval

$H Arca. Roman

$H Arcade. Architecture

$H Arcadi.

$H Arcatures. Architecture

$H Arcera. Roman

$H Arch. Architecture

--- $H Arch, Angul= ar. Architecture

--- $H Arch, Baske= t‑handle. Architecture

--- $H Arch, Byzantine. [See Arch, Hors= eshoe.] (1891a1) Architecture

--- $H Arch, Catenarian. Architecture

--- $H Arch, Contr= asted. [See Arch, Ogee= .] (1891a1) Architecture

--- $H Arch, Depressed. Architecture

--- $H Arch, Disch= arging, or Relieving. Architecture

--- $H Arch, Elliptic. Architecture

--- $H Arch, Extradossed. Architecture

--- $H Arch, Four&= #8209;centred. Architecture

--- $H Arch, Horse= ‑shoe. Architecture

--- $H Arch, Multifoil. &nbs= p; Architecture

--- $H Arch, Ogee.= Architecture

--- $H Arch, Point= ed. Architecture

--- $H Arch, Rampa= nt. Architecture

--- $H Arch, Reversed. Architecture

--- $H Arch, Semic= ircular. Architecture

--- $H Arch, Slopi= ng. [See Arch, Weat= hering.] Architecture (1891a1)

--- $H Arch, Stilt= ed, or Surmounted. Architecture

--- $H Arch, Surbased. = ; Architecture

--- $H Arch, Trefo= il. Architecture

--- $H Arch, Trium= phal. Architecture

--- $H Arch, Tudor= . [See Arch, Four= ‑centred.] (1891a1) Architecture

--- $H Arch, Weathering. Architecture

--- $H Arch, Zigza= g. Architecture

$H Archaeological.

$H Archaeologist.

$H Archaeology.

$H Archaeology of Art.

$H Archaic.

$H Archaism.

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

$H Archangels. Christian

$H Arched, Archy. Heraldry

$H Arched‑buttress or Flying Buttress.= Architecture

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

$H Archeria. Mediaeval

$H Archibault. (See ARCHIVOLT.= ) (1883m1)

$H Architect.

$H Architects. Egypt

$H Architectural.

$H Architectural Painter.

$H Architectural Painting.

$H Architecture.

--- $H Architecture, Civil.

--- $H Architecture, False.

--- $H Architecture, Military.

$H Arachosia.

A great city on the Southern road from Babylon to India. It was more famous in early mediaeval than in Archaic history. (1876c1)