$H Arnafgesf. Egypt

The mystical name of one of the planks of = the Boat of Souls in the XCIXth chapter of the Ri= tual of the Dead. (1876c1)

$H Arnebaskenis.

Probably a Greek form of the name of Aroeris the elder Horus. (1876c1)

$H Arnis. Greek & Roman

Gr. and R. An expiat= ory festival held in honour of Linus and his mother Psamathê, the daughter o= f Crotopus, king of Argos. Various legends are extant regarding the origin of this festival, which w= as called Arnis= from the sheep (•D<,4ÎH[=3Darneios]) that = were sacrificed. (1883m1)

$H Arnutha. Egypt

Another Egyptian name of the river Orontes in Northern Syria. (1876c1)

$H <= span class=3DSpellE>Aroer.

A city in Palestine which was called by the Ass= yrians Qarqar. (1876c1)

$H Aroeris.

The Greek form of the name of Harsiesi or Arnebaskenis, the elder Horus. (1876c1)

$H Arotoi‑Hieroi.<= span style=3D'mso-spacerun:yes'> Greek

Gr. Literally: sacred labours, a term used to de= note three agricultural festivals which took place in Attica; the first was he= ld in commemoration of the first sowing; the second, on occasion of reaping = the earliest crop of barley in a field near Eleusis; the third, by way of invoking the blessings of Ceres on the field of corn specially set apart for the worship of Athena. (1883m1)=

$H Aroura. Egypt

aroura: measure= of area: 100 sq. cubits, about two-thirds of an acre. (1894e1)

$H Arp. Egypt

The Egyptian name of the country which was called Arupe by the Greek writers. (1876c1)

The general name of wine among the ancient Egyptians. (1876c1)

$H Arpad.

A city near Damascus, of which Zazai was the archon under Sennacherib. (1876c1)

$H Arpaesis. Egypt

A goose feeder of E= lephantine, in the reign of the Emperor Trajan, A.D. 116.= His name was the old Egyptian Harseisis. (1876c1)=

$H Arparphesep. Egypt

The Egyptian name of the city and nome of Takens. (1876c1= )

$H Arphaxad.

Arpha= xad. "Border of the Chaldees." A people dwelling near to Chaldea, from whom the Hebrews were in later times descended. (1876c1)

$H Arquebus.

Arquebus. A hand‑gun, larger than a musket. The m= an using it was called an arquebusier. (1883m1)

Arquebus or Arcubus. A primitive form of gun invented in the 15th and in use until the 17th century. It was the first gun fired off by the action of a trigger. (1891= a1)

Arcubus. A= word derived from the Italian arca bou= za (a bow with a tube or hole), the original form of hand-cannon, or gun, in= vented in the fifteenth century, the trigger of the cross-bow having suggested o= ne to catch into a cock which held the match, and, by the motion of the trig= ger, was brought down on a pan, which held the priming. Previous to this invention, the touch-hole was on top of the gun, which was fired by a mat= ch applied by hand. The arcubus,= arquebus, or harquebus, after undergoing many modifications and improvemen= ts, went out of use in the seventeenth century, when flint-locks became universal. Previously, the soldier carried long threads of tow smoulderin= g in his hand to fire his gun. (1855f1)

$H Arra or Arrha. Roman

R. A deposit, or ear= nest‑money to a contract. (1883m1)

$H Arraché. Heraldry [See Erased.] (1891a1)

$H Arrafa. Arabia

The name of the female diviners of the anc= ient Arabians of the North of the Peninsula= . They belonged to a distinct tribe and held their office by hereditary successi= on, and they possessed the guardianship and right of service of various local temples. The male diviners were called Kahiu,= which see. (1876c1)

$H Arrangement. Painting

Arrangemen= t. (Paint.) = The method in which a painter com= poses his figures and combines his groups. (1891a1)

Arrangement. In the plastic Arts, and in painting, invention and arrangement are the groundwork of every compositi= on. ARRANGEMENT is the placing together of parts<= /i> in a manner conformable to the character and aim of the work; it relates entirely to the form in which the subject must be worked out so as to pro= duce an intuitive perception of its individuality. Artistic arrangement belongs not only to the object as a whole, but to each part specially, to groups = as well as to single figures, and to the position and contrast of their limb= s. In painting it refers to the distribution of colours= , and the disposition of light and shade, all of which require a peculiar a= rtistic arrangement; light, shade, and colouring bein= g the soul of all painting. ** The characteristic of arrangement must be unity in manifoldness; but there is= here a threefold relation, either cause to effect, argument to conclusion, mea= ns to an end; or as part to part, or to the whole. The laws of arrangement a= re therefore the laws of causality, referring to the purpose and proportion; every beautiful work of Art must contain a prevailing thought, a principal idea, to which all else is subject. In this subordination the law of causality is acknowledged; and thus, to ARRANGE means, in Art, to plan, so that one part appears to follow from another. Time and space are also to be regarded, and in this respect the objects are not joined simply by argument and conclusion, or cause and effect, but also appear close to one another, following one another, or being in relation to the whole. Therefore, a work of Art is subject to the laws of "quantitative and qualitative" proportio= n. Lastly, the production of a general meaning must be considered; for this especial disposition is necessary, which is a plan (motif) in the highest sense of the word, aiming at subduing a= ll to the development of the artist's aim. (1855f1)

**= Titian recommended the study of a bunch of grapes as the simplest example of a beautiful natural arrangement; and it always speaks well for the genius o= f an artist to be able to reduce what is rich and prominent to a simple and comprehensive illustration, and yet let it be visible in his works.(1855f= 1)

$H Arras.

Arras= . A woven material made at Arr= as in France in the 14th century and used as a hanging for rooms. (1891a1)<= /span>

Arras= . Tapestry. Textile hangings for walls; first made at Arras in the 14th century. It was originally called Opus Saracenicum. (1883m1)<= o:p>

Arras= . Hangings for rooms; first made at <= st1:City w:st=3D"on">Arras, in France, in the fourteenth c= entury. It consisted of woven stuffs, decorated with a simple pattern, like a mod= ern wall-paper. (1855f1)

$H Arrat. Assyria

An Assyrian measure of capacity, eight of which went to the log, which = see. (1876c1)

$H Arrex. Egypt

The Egyptian name of the city of Edessa, in Mesopotamia. It was reputed to have been founded by Nimrod, and was famous for its the= ological school in the fifth century, A.D. It is now called O= rfat by the Arabs. (1876c1)

$H Arrhae Sponsalitiae= .

Arrhae Sponsalitiae, call= ed also ARRABO, was the name of the betrothal money paid to the parents of a brid= e; a practice of the Hebrews, continued by Christians. (1883m1)

$H Arrhephoria. Greek

Gr. (= z!= D= D0= N`= D4= "[=3DArrephoria]). A festival held at Athens in the month of June or Scirophorium. The maidens who took part in it were called •D= D0N`D@4[=3Darrephoroi] or = ©D@0N`D@4[=3Dheroephoroi]. F= our little girls and a priestess carried some sacred vessels to a grotto. (1883m1)

$H Arricciate, Arriciare.

Arricciate, Arriciare. (Ital.) In fresco-painting, according to Alberti, the mortar with which t= he intonachi are made is laid on in three coats: the first is called = rinzaffato (rough cast); = its use is to hold very firmly the other two coats which are laid upon it. The middle coat of the intonachi is called ARRICCIATE; its use is to obviate any defects both in the first= and in the last coats. The use of the last intonaco is to receive the polish and the colours. According to Pozzo, the ARRICCIATE is the first coat of mortar which is laid on the wall or place which= it is required to paint. *

*<= /span> Vide The Art of Fresco Painting, by M= rs. Merrifield. London, 1846. (1855f1)

$H Arrpakh. Egypt

The Egyptian name of the district of Arrapachitis. (1876c1)

$H Arricciate. Italian

Ital. One of the coats of mortar laid on to a wall= to receive fresco painting. (1883m1)

$H Arris. Architecture

(Arch.) The angle or corner formed by the intersection of two surfaces. ILLUS.<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'> arris (1891a1)<= o:p>

<= /o:p>

$H Arrondi or Arrondie= . Heraldry

Arrondie, Her. Curved, round. (1883m1)

Arrondi. (Her.) A term applied= to charges which, instead of being represented in their ordinary shape, are curved or rounded. Thus we speak of a stag's antler = arrondi, a serpent arrondi, &c. ILLUS.<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'> arrondi= (1891a1)<= o:p>

<= /o:p>

$H Arrow. 1. General; 2. Egypt; 3. Christian Art

Arrow. The arrow of the Romans had a plain bronze head without a barb, the barbed head being characteristic of Asiatics. The arrows of the early Britons were headed with flint or bone, those of = the Saxons and Danes with iron. By the latter peoples they were chiefly used = for the chase. The Normans used arrows with deadly effect as weapons of war, and after the conquest = the English became expert bowmen, the "cloth‑yard" shaft of t= he English yeoman being very celebrated in the Middle Ages. (1891a1)

Arrow. Egypt= . Wood and reed arrows from twenty-two to thirty-four inches long, tipped with hard wood, flint, or m= etal have been found. Those with hard wood and flint heads were probably only = used by huntsmen. As a weapon of war the arrow was tipped with a bronze head, which was sometimes barbed, and sometimes triangular and made with three = or four blades. The shaft of the weapon was winged with three feathers like a modern arrow. (1902b1)

Arrows, in Christian= art, are the emblems of pestilence, death, and destruction. (1883m1)

Arrows, in C= hristian Art, are the emblems of pestilence, death, and destruction, and are sometimes introduced as marks of martyrdom, as the attributes of St. Sebastian, St. Christina, and St. Ursula. The ARROW is occasionally emplo= yed as a rebus on the name of Fletcher, being the name by which the makers of arrows were formerly known. (1855f1)

$H Ars. Egypt

The name of a mystical personage who is mentioned in the CIInd chapter of the Ritual = of the Dead. (1876c1)

$H Arsa.

The Egyptian name of an Asiatic country or town, which is supposed by some writers to have been the city of Assur in Assyria. (1876c1)

$H Arsaces.

A noble Parthian, who revolted against Antiochus Theus, king of Syria, whose troops he defe= ated, B.C. 254. and afterwards making himself king of Parthia, established the dynasty of the Arsacidae. He reigned for four years, and died B.C. 248. He was succeeded by Tiridates or Arsaces II= ., who carried on the wars with the Seleucidan kings= , who at last recognised the empire of Parthia as an independent state, in the reign of Artabanus I., or as he was more generally called Arsaces II= I. The dynasty continued till the death of Artabanus= IV. or Arsaces XXVIII., the last of the line, in = battle with Artaxerxes or Ardashir I., the founder of the Sassanian monarchy. (Haydn= .) (1876c1)

$H Arsaphes. Egypt

The Greek form of Har= scheft, a surname of Osiris. (1876c1)

$H Arsenic, Arse= nikon.

Arsenic, Arsenikon. This metal, in combination with other substances, enters into the composi= tion of certain pigments. With sulphur, it forms t= wo compounds, realgar and orpiment; the first of= them contains the smallest proportion of sulphur, = and is red; the latter is yellow, and is also known by the name of king's yellow= . Arsenite of potash, mixed with sulphate of copper, yields the pigment known as SCHEELE'S GREEN, an arsenite of copper. ARSENIKON was the Greek term fo= r the yellow sulphuret of arsenic, ORPIMENT; it was called by the Romans AURIPIGMENTUM. The SANDARACH of the ancients is supp= osed to be the red sulphuret of arsenic; a false k= ind of sandarach, mentioned by Pliny, it the red oxi= de of lead; a mixture of it with ochre was discovered among the pigments used in the baths of Titus. Arsenikon is sometimes wr= itten arsicon= and arzicon. (1855f1)

$H Arsenicon.

Greek for or= piment (q.v.). (1883m1)

$H <= span class=3DSpellE>Arses. Egypt

A governor of Egypt after the Persian con= quest. Little is known from the monuments respecting him. (1876c1)

An early king of Persia. He was made king by= the great general Bagoas, who then revolted again= st him and assassinated him, placing Darius Codomanus on the throne, B.C. 336.

$H <= span class=3DSpellE>Arshada.

A city of Arachosia= , where Vibanus, the satrap of the country under Darius Hystaspes, put to death the chiefs of the army sent against him by Veisdates the rebel king. (187= 6c1)

$H Arsinoë or Ars= inoe. Egypt

Arsinoë. A town in the Fayûm dedicated to Arsinoë, the sister-wife of Ptolemy Philadelphus. The ancient site is now represented = by the modern town of Medinet el Fayûm. (1902b1)

A daughter of King Ptolemy Neus Dionysius, and the sister of Queen Cleopatra, by whose orders she was assassinated, B.C. 41. (1876c1)

$H Arsinoe Philadelpho= s. Egypt

A daughter of Ptolemy Soter, and the sister of Ptolemy Philadelphus. She w= as adored as a goddess at Memph= is under Ptolemy V. (1876c1)

$H Arsinoe Philopator<= /span>. Egypt

The sister of Ptolemy Philopator, and the daughter of Ptolemy Euergetes I. She = was adored as a goddess at Memph= is, under Ptolemy V. (1876c1)

$H Arsinois. Upper and Lower. Egypt

The Greek name for the cities and nomes in Upper Egypt, which were called by the Egyptians Neha-chent, sacred to the god Sebek, and Neha Pehu, sacred to the goddess Hathor respectively. (Lenormant.) (1876c1)

$H Arsinoites. Egypt

A province of Lower Egypt, anciently calle= d Tashe, "Country of the Lake," on account = of its containing the great lake and pyramids of Moeris and his queen. Its principal town was Crocodilopolis= , and was sacred to the crocodile-headed deity Sebek. Arsinoites was probably the twenty-first nome of Lower Egypt. See also Am= enemha. (Pierret.) (1876c1)

$H Arsiyanis.

A mountain district of Minni, which was ravaged by Assurbanipal after the f= all of Akhsera, the king of the country. (1876c1)

$H Arsu. Or Areos.

The name of a great Syrian chief who invad= ed the Delta of Egypt during the disputes between the successors of Merenpthah I. He overthrew the established religion= of the country, degraded the deities to the condition of mere men, connected= the commerce of Egypt<= /st1:country-region>, and loosening the bands of allegiance set all the nation in revolt. After some years of anarchy, he was dethroned by the tact and bravery of Prince= Seti-Nekht, who aided by the native clergy expelled= the Syrians, reversed their alterations, and restored the kingdom to order and prosperity. (1876c1)

$H Art. Egypt

The name of a district in Thebes which included the temples of Karnak and the Ramasseion. (1876c1)

$H A= rt. =

Art. This term, employed in a collective sense, comprehends all the products of the plastic and graphic arts; it is also extended to the orchestric, rhythmic, an= d mimic arts; but in the present instance we limit ourselves to the consideration= of the former - the arts of design. 1 "ART," says Müller, "is a= representation, that is, an acti= vity, by means of which something internal or spiritual is revealed to sense. I= ts only object is to represent, = and it is distinguished by its being satisfied therewith, apart from all practic= al activities which are directed to some particular purpose of external life. The more = immediate determination in Art depends especially on the kind of connection between= the internal and the external, the re= presenting and the represented. This connection must absolutely be one imparted of necessity in the nature of = man, not assumed from arbitrary regulation. It is not a subject of acquisition, although it may exercise greater or less influence on different natures a= nd different stages of civilisation. At the same= time, this correspondence in Art is so close and intimate, that the internal or spiritual momentum immediately impels to the external representation, and= is only completely developed in the mind by the representation. Hence the artistic activity in the soul is fr= om the very beginning directed to the external manifestation; and Art is universally regarded as a making<= /i>, a creating. The external or representing in Art is a sensible form; now, the sensible form which is capable of expressing an internal l= ife can be created by the fancy, or present itself to the external senses in = the world of reality. But as even ordinary vision, and much more every artist= ic exercise of the sight, is at the same time an activity of the fancy, the = form-creating fancy in general m= ust be designated as the chief faculty of representation in Art. The creative fanciful conception of the artistic form is accompanied by a subordinate = but closely-allied activity - the representation or embodiment of the form in= the materials - which we call EXECUTION. To the internal or represented in Art - the spiritual life, whose corresponding = and satisfying expression is the artistic form - we apply the term artistic idea, understanding the= reby, in quite a general way, the mood and activity of the mind from which proc= eeds the conception of the particular form. The artistic idea is never an idea in the ordinary sense; as it c= an never be rendered in an entirely satisfactory manner by language, it can = have no expression but the work of Art itself. It lies in the notion of a work= of Art as an intimate combination of an artistic idea with external forms, t= hat it must have a unity to which everything in the work may be referred, and by which the different parts, whether simultaneously or successively existing, may be so held together, that the one, as it were, demands the other, and makes it necessary. The = work must be one and a whole. 2 (1855f1)

1<= /span> "These art= s are distinguished from each other in this, that the one, sculpture, or the plastic art, places bodily before us the organic forms themselves, and th= at the other design, or the graphic art, merely produces by means of light a= nd shade the appearance of bodies on a surface, inasmuch as the eye only perceives corporeal forms by means of light and shade. The relation of sculpture and painting, as regards their capabilities and destination, is already hereby defined in its main features - the plastic art represents = the organic form in highest perfection, and justly holds as its apex the human form. It must always represent completely and roundly, and leave nothing undefined; a certain restrictedness in its subjects, but on the other hand great clearness belongs to its character. Painting, which immediately represents light (in whose wonders it truly shows its greatness), and in exchange is satisfied with the appearance thereby produced in the corpore= al form, is capable of drawing much more into its sphere, and making all nat= ure a representation of ideas. The plastic art is in its nature more directed= to the quiescent, the fixed-painting more to the transient; the latter can a= lso, in that it combines far and near, admit of more movement than the former; sculpture is therefore better adapted for the representation of character, painting for expression. Sculpture is always bound to a strict regularity= , to a simple law of beauty; painting may venture on a greater apparent disturbance in detail, because it has richer means of again neutralising it in the whole." - MULLER, Ancient Art and its Remains. (18= 55f1)

2<= /span> "Deep feel= ing is the only true source of lofty Art. It is feeling which reveals to us true ideas and correct intentions, and gives that indefinable charm, never to be conveyed in words, but which the hand of t= he painter, guided by the poet's soul, alone can diffuse throughout all his works. From religions feeling, love, and devotion, arose the silent inborn inspiration of the old masters: few, indeed, now seek their hallowed inspiration, or tread the paths by which alone they could attain it, or emulate that earnest endeavour to work out the principle of serious and noble philosophy, which is discoverable in the w= orks of Durer and Leonardo Da= Vinci." - SCHLEGEL'S AEsthetic Work= s. London, 1849. (1855f1)

In tracing the h= istory of Art to its infancy, we must direct our attention to the East, and watch its progress contemporaneously with that of the human mind. The earliest = civilised nation of antiquity, Egypt, presents in its most ancient monuments the quaint and peculiar attempts of a primitive people = to embody events sacred and secu= lar through the aid of sculpture and painting. That Art was originally sacred= in its character, and devoted to the holiest purposes, was the natural conse= quence of its mystic origin in the struggles of the human mind toward artistic creative power - that Promethean spark which blazed forth in its brillian= cy in ancient Greece, and is yet unrivalled in its excellence. After sacred subjects historic ones were attempted, and the walls of the temple, dedic= ated to a god, were adorned with the representation of the prowess of the hero= he was believed to protect; or the palace-walls of the king became the sculptured records of his power, wars, and conquests; repeated as well on= the public buildings as on his tomb. It was not long before the actions of ordinary life claimed the same record; and the ancient tombs of the early Egyptians depict so truthfully the most minute features of their ordinary= lives, that the savants of the prese= nt day have been enabled to give us the most minute particulars of the domestic = and public life of a people whose history had left but few records, and whose language was believed to have been for ever lost. (1855f1)

In surveying the= se primitive works of Art, we can trace but the struggles of the mind for the embodiment of a single truthful idea. We find no attempt at grace, no knowledge of dignity beyond what = size could accomplish. Thus, the enormous figures carved in the rock at Abou-Simboul, and the colossal bas-reliefs at Thebes and Memphis, are astounding by their proportio= ns rather than their expression.= So it has ever been with nations in the early dawn of their arts. The rock temp= les of Ellora, the caves of Elephants, or, to des= cend still lower, the rude idols of the Pacific Islanders, and the Mexican, or= North American Indians, strengthen and confirm the fact. In early Egypt, Art was a sacred cal= ling, and its professors men trained to the service of religion, and bound to c= ertain rules in the practice of their art from which they dared not swerve. Art became thus almost mechanical at the period of its birth, and was shackle= d by laws which prohibited its growth toward beauty for many centuries. That monotonous and unthinking adherence to established forms which characterises modern China thus finds its prototype in ancient Egypt. Rules for the drawin= g of the human figure were rigidly established, from which no artist might dep= art; their laws being laid down with a mathematical precision. "In their temples they were obliged to conform to rules established in the early infancy of Art, which custom and prejudice had rendered sacred; the ancie= nt style was always looked upon with the highest veneration. Plato and Synesius both mention the stern regulations which f= orbade their artists to introduce innovations in religious subjects; and the mor= e effectually to prevent this, the profession of artist was not allowed to be exercised= by common illiterate persons, lest they should attempt anything contrary to = the laws established regarding the figures of the deities." 3 Their artists were consequent= ly deficient in conception, had no knowledge of grouping or pictorial effect. The walls of a building intended to be sculptured or painted were ruled in red squares, the draftsman marking in each square each allotted portion of the figure intended to be represented; every picture or sculpture was thus made up of isolated parts, each conceived by itself, and inserted where wanted. "The peculiarity of the front view of an eye introduced in a profile is thus accounted for: it was the ordinary representation of that feature added to a profile, and no allowance was made for any change in t= he position of the head. 4 Thus, then," as Diodorus observes of Egyptian statues, "various portions of the same figure might be made by sever= al artists, in different places, the style and attitude having been previous= ly agreed upon, which, when brought together, would necessarily agree, and f= orm a complete whole." 5 Th= e same laws regulated the drapery, which was added upon the figure previously dr= awn, in accordance with the station of life the person that figure was intende= d to represent moved in. The representation of animals appears to have been le= ss restricted; but though they exhibit occasional truthfulness, and are dist= inguished by more freedom than those of men, they evince the same rigidity of feeli= ng, the same adherence to the simple profile, the same timidity of change. The vegetable world was even more grotesque and archaic as conveyed to the ey= e by these early artists, who thus transmitted for centuries the ideas of their progenitors. (1855f1)

3<= /span> Sir J. G. Wilki= nson's Manners and Customs of the Ancient Egyptians, vol. iii. p. 87.

4<= /span> See cuts to ASI= LLUM and HARP, and particularly that to CALANTICA, Fig. I.

5<= /span> Wilkinson. vol.= iii. p. 265. (1855f1)

The monuments of= Babylon are marked by the same peculiarities visib= le on those of Egypt, but they evince greater freedom of design, and a nearer approach to natur= e. 6 They have more expression both of feature and action in their figures, more = knowledge of grouping, and depict a battle or other event much more naturally. The minor details of costume exhibit a marked improvement, while the mere manipulation of the sculpture shows the cultivated experience of long and careful practice. This may be best illustrated by the figure of a horseman from the palace at Nimroud, which forcibly de= picts the struggle of the artistic mind toward the truthful representation of t= hat freedom of action visible in the motion of the horse, whose impulse is directed by a rider pursued by the enemy. FIGURE

6<= /span> See cut to ACIN= ACEE. (1855f1)=

It was reserved = for ancient Greece to receive the arts at this low level, and to leave them a bequest to all future ages as the most perfect of human works. The earliest traces of Gr= eek Art - the work of the archaic= period, as it is frequently termed - has much of the old Egyptian character. Such= are the earliest painted vases, and the sculptures from Lycia, now in the British Museum (which have been dated B.C. 580-460). Their general character is compact proportion in the figures, whose bodies are muscular, the joints and sine= ws prominent, the drapery arranged in symmetrical folds: the action of gods denoting majesty and tranquillity; that of me= n in repose, bodily strength; the gestures when in action being vehement. The early archaic bas-relief found near Marathon, and now preserved in the temple of Theseus, at Athens, exhibits the peculiarities of= early Greek Art. The perfection of later Greek Art may be attributed to their p= ublic-spirited enthusiasm; with them Art was a glory, and its practice sacred. Their nob= lest aspirations were devoted to the services of the temples, and the nation in general honoured the artist who successfully adorned them. To be an artist was to be a superior being, acknowledged an= d honoured as such; but only hon= oured if the bearer of the divine gift loved his Art for itself alone, and with= out personal vanity devoted its power to the glory of the gods or the benefit= of the community. The Fine Arts were the vital breath of Greek life; their devoted attachment to them has been noted by many contemporaries. Cicero says, &qu= ot;The Greeks enthusiastically admire statues, paintings, and works of Art; ther= e is no calamity they a= re so little able to bear as the pillage of their temples and cities." They regarded b= eauty only as another name for excellence and goodness. So great was their love= for fine masterpieces of Art, that whole towns have refused to part with a si= ngle specimen, even when tempted by offers of remission of debt, or exemption = from tribute. Cicero has strongly put the question, "What remuneration could compensate t= he Rhetians, now Roman citizens, for the loss of their marble Venus?" adding instance on instance of other citizens who cou= ld not bear to be without their treasures. It was this innate love of Art, e= mbracing a whole nation, which made its practice the highest aim of human thought,= and elevated it to a pitch of excellence which succeeding nations, through th= e want of such enthusiasm, have never reached. 2 FIGURES

The golden age of Greek Art occupied the period between B.C. 460-366, during which period t= he Parthenon was rebuilt and embellished by the hands of the greatest sculpt= or the world ever produced - Phidias. These wond= rous works, which enrich the British Museum under the = name of the Elgin Marbles, testify the greatness of antique Art, which idealiz= ed without departing from nature, and have become the tests of true taste to all tim= e.

The fall of Greece and rise of Rome gave these high principles a blo= w they have never fully recovered. The conquerors of the world had no absorbing = love of Art like the ancient Greeks. It was for them a luxury, an ostentation,= not a sacred elimination of beauty. Though to the Greek artist was confided t= he execution of their best works, Roman influence and wants crippled its pur= ity, and Art decayed. As Rome increased in wealth and power, Art decreased - became merely ornamental, elaborate in finish, at the expense of simplicity and grandeur; gorgeous = in decoration, at the expense of taste. So abundant, however, was its labours, that it is recorded there was in Rome and other c= ities more statues than inhabitants. A reign of dark barbarism succeeded all th= is luxury of wealth; the statues were demolished by a horde of barbarians, a= nd Art was reduced again to an Egyptian level. From this night of barbarism which succeeded the fall of = Rome, the Church again raised Art. Christian emblems and sacred subjects were depicted by the earlier artists of the Greek church, who constructed their representations precisely on the plan of the Egyptians, enacting rules for the form, colour, and style of each sacred painting, which thus became a mechanical thing with them for century after century. 7 The style may be = characterised as stiff in attitude, exceedingly har= d and ungraceful, and deficient in anatomical or natural principles. Constrained attitude and grotesque action render ludicrous to many eyes the serious w= orks of these old artists. Italy took the lead in improvement, and it is to the schools of Florence and Rome we are indebted for its resuscitation. In the works of = Giotto, Cimabue, and Fra = Angelico, we see the revival of that purity of mann= er and gracefulness of thought which had slept among men so long. Michael Angelo= , in sculpture, and Raphael, in painting, again claimed and obtained the assen= t of the world to honour the great principles of t= he creative powers they wielded. Other artists, imbued with varied genius, appealed to the taste of men in other countries, and aided its spread, un= til Art again exerts its peaceful and ameliorating sway, acknowledged and respected in all lands. 8

7<= /span> M. Didron found the monks of Mo= unt Athos painting - a few years ago - pic= tures in the same quaint and peculiar style which characte= rised early Byzantine works.

8<= /span> In continuation= of the mediaeval history of Art, see the articles in this Dictionary under PAINTING, SCULPTURE, SCHOOLS OF ART, &c. (1855f1)
&nbs= p; &= nbsp; &nbs= p; <= /span><= /o:p>

--- $H Art, Collections of. See COLLECTIONS. (1855f1)

$H Artabardes.

A general of Darius H= ystaspes, by whom he was sent to subdue the revolt of Veisdate= s, the pseudo Bardes, whom he twice defeated and= then sent captive to his master, who had the rebel king impaled at Chadidia. S= ee also Vahyazdata. (1876c1)

$H Artaeus.

According to Ctesias<= /span>, a king of the Medes. He succeeded Abianes, and reigned forty years. (1876c1)

$H Artames. Egypt

A Perso-Egypti= an court official in Egypt during the reign of Xerxes king of Egypt<= /st1:country-region> and Persia. (1876c1)

$H Artasirari.

A king of a district in Nahri, who paid tribute to Samas Rimmon, king of Assyria. (1876c1)

$H Artaxerxes I. Longmanus. Persia

King of Persia upon the assassinati= on of his predecessor, Artabanus, B.C. 465. He has = been supposed to have been the Ahasuerus of the He= brew writers. His name occurs several times in the Hieroglyphic inscriptions o= f Egypt= , but his real place is in Classic history. (1876c1)

$H Artemidos, Speos.

Se= e Speos Artemidos, and Antinoite= s. (1876c1)

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

The moon‑goddess and patroness of hunters. The Ephesian Artemis, of Eastern origin, is represented= as wearing a mural crown with a disc, as the emblem of the full moon. Her le= gs are swathed and ornamented with figures of bulls, stags, bees, and flower= s, and she is many‑breasted. In Greek Art she generally figures as a huntress. The incident of Actaeon being turne= d into a stag and torn to pieces by his own hounds for gazing on Artemis in her bath, is a favourite subject both in vase‑paintings and bas‑r= eliefs. Stags and dogs were sacred to her. (1891a1)

$H Artemisia. Greek

Gr. A general term t= o denote all the festivals of Diana Artemi= s. The most celebrated were those held at Ephesus, Delphi, and Syracuse. (1883m1)

The wife of her brother Mausolus, and queen of Caria= , in Asia Minor. She reigned with great prudence, and = upon the death of her husband she erected a splendid pyramidal tomb over his remains, calling it after his name a Mausoleum, B.C. 352. The building was for many years one of the so-called seven wonders of the world, and its r= uins are now in the British<= /st1:PlaceName> Museum, together = with the statues of Artemisia and Mausolus which adorned the entrance. The Mausoleum has since become remarkable from the circumstance that an alaba= ster vase, having the name of Xerxes engraved upon it in Cuneiform characters,= was found among the debris a few years ago. (1876c1)

$H Artemisium. "Temple of Artemis, i.e. Diana."

The scene of a great naval battle between = the Greeks and the Persians, under Xerxes, B.C. 480, where the Egyptian sailo= rs and ships conducted themselves with great bravery. (1876c1)

$H Articarmin. Or Artukas.

King of the Medes. He succeeded Sasarmin or Sosarmus, a= nd reigned thirty years according to Ctesias, but fifty according to the results of recent scholars. (1876c1)

$H Articulation.

Articulation. The an= atomical study of the tincture of the bones. (1883m1)

Articulation. Painters and sculptors, as well as anatomists, employ this term to express junction of the bones: when the passing of one member of the body into another is well marked, and correctly drawn, they are said to be "strongly articulated," or "well articulated." This p= art of artistic anatomy is termed ARTHROLOGY, and is divided by anatomists in= to the moveable (diarthrodial), = having contiguous surfaces; and the immo= veable (synarthrodial), having contiguous surfaces and symphyses, which are part= ly contiguous, partly continuous. The student will find this important subje= ct treated at length in Dr. Fall's A= natomy of the External Forms for the use of Artists, translated by Dr. Knox.= (1855f1)

$H Artihor. Egypt

The Uu of the tenth, or Aphroditopoli= te nome, of Upper Egypt. (1876c1)

$H Artimer. Egypt

A place in the eleventh nome, or nome of Kashebs, of Lower Egypt. (1876c1)

$H Artimpasa. Scythia

Artimpasa. "The Noble Lady." According to Herodotus, the name of a Scythian goddess answering to the heavenly Venus= of the Greeks. (1876c1)

$H Artines. Egypt

King of the Medes. He succeeded Artaeus, and reigned twenty-two years. (Ctesias. ) (1876c1)

$H Artinu. Egypt

The Egyptian name of an unidentified Asiat= ic country. (1876c1)

$H Artisan. <= /h1>

A name formerly applied to artists, but now only given to those workmen employed in various mechanical trades who possess some spec= ial skill, in which, however, invention plays no part. The artisan's business= is to translate in various materials the artist's design. (1891a1)

$H Artist.

Artist. One= who practises the fine arts. (1891a1)

Artist, Artisan, (ARTISTE= , Fr.) One who exercises the Fine = Arts, meaning thereby the Plastic Arts especially. This term is, by some writer= s, made to include the musician, and, by others, even the poet; but it is properly limited to the sculptor, painter, and architect. Artisan is appl= ied to one who exercises the mechanical arts, and is subordinate to the artis= t. (1855f1)

$H Artistically.

Artistically. A term expressive of the sen= se of particular ability, or intelligence, shown in the work of the artist. (1855f1)

$H Artist's Proof. <= /span> [See Proof.] (1891a1)

$H Artolaganus. Roman

R. (= •D= J@‑= 8V= ("= <@= <[=3Darto‑laganon], i.e. bread‑cake). A kind of dough&#= 8209;cake made with wine, milk, oil, and pepper. Cicero, in one of his letters, asserts that it was delicious. (1883m1)=

$H Artophorium. Christianity

Artophorium (bread‑bearer), Chr. Another name for the ciborium or costly box pr= epared to contain the consecrated Host. (1883m1)

Artophoriu= m, Ciborium. The anc= ient name for the box containing the Host. In early Christian times church vessels = were richly ornamented, and many are preserved, formed of ivory, with bas-reli= efs illustrating various events in Scripture history. (1855f1)

$H Artopta. Greek & Roman

Gr. and R. (from = •D= JV= T[=3Dartao], to bake). A mould in which bread and past= ry were baked. (1883m1)

$H = Artopticius. Roman

R. (s= c. parús). A roll or loaf of bread baked in an artopta, many examples of= which may be seen in the small museum at Pompeii; owing to their having become hardened, these loaves have retained their shape perfectly when taken from the oven after eighteen centuries. (1883m1)

$H Arts, Society of. See SOC= IETY. (1855f1)

$H = Artu. Egypt

The Egyptian name of the town of Aradus in Palestine. (1876c1)=

$H Art-Unions.

Art-Unions are societies formed for the encouragement of the Fine Arts by the purchase of paintings, sculptures, &c., out of a common fund raised in small shares or subscriptions; su= ch works of Art, or the right of selecting them, being distributed by lot am= ong the subscribers or members. They appear to owe their origin to M. Hennin, a distinguished amateur of Paris, who, about forty years age, organised a little society f= or the purpose of bringing together the unsold works of artists, exhibiting them, and, with the exhibition money and other subscriptions, purchasing a selection from among them, which was afterwards distributed by lot to the subscribers. In 1816 this company merged into the "Société des Amis des Arts." Art-Unions have been extensively organised in most of the German s= tates. The Art-Union of Berlin was established in 1825. The pictures are selected by a committee, and in addition an engraving is distributed to each subscriber. The Art-Union of= the Rhine Provinces and Westphalia, among other objects, purchase pictures for public purposes, such as altarpieces. The leading features of these German socie= ties are - the purchase of works of Art either by commission or selection, to = be appropriated by lot amongst the members; the production of an engraving f= or distribution annually among the members; and the creation of a reserve fu= nd for the encouragement of historical and religious Art, by the commission = or purchase of pictures for public purposes. The first Art-Union formed in <= st1:country-region w:st=3D"on">Great Britain was in Scotland, in the year 1834.= The Art-Union of London was established in 1= 837, and since that period similar societies have been established in Ireland, and in many of the principal to= wns in England. In 1839, an American Art-Union was established in = New York with great success. It is a mooted question whether the establishment of these societies in England<= /st1:place> has done much to elevate the standard of taste in Art. The works of the greatest painters are but seldom within the reach of an Art-Union prize-holder, and even if they were, it is more than likely they would no= t be selected. There can be no doubt, however, that whatever may be the defect= s of their early existence, they will ultimately help to inform and instruct t= he public mind. (1855f1)

$H = Aru. Assyria

An Assyrian measure of capacity, nine of w= hich went to the log, which see. (1876c1)

$H = Arua.

A king of the country of Cindutausi, who paid tribute to Samas Rimmon. (1876c1)

$H = Aruhaba. Egypt

A mystical region mentioned in some copies= of the CLXIVth or extra chapter of the Ritual of= the Dead. (1876c1)

$H Arum. Or Aram<= /span>.

The son of Agus, a petty Syrian chief who was conquered by Shalmaneser<= /span> II. (1876c1)

$H = Aruna. Egypt

The Egyptian name of an unidentified distr= ict, which is supposed by some writers to have been the M= oeonia or Ilion. (1876c1)

$H = Arunata. Egypt

The Egyptian name of the river Orontes in Northern Syria. (1876c1)

$H Arundel Device. <= /span>

A chapeau or= , and gules, surmounted by a fr= et or, and an acorn leaved vert. This is only one of the nu= merous badges of the house of Arundel, which is peculiarly rich in armorial bearings. Fig. 45. Arundel device. (1883m1)=

<= /o:p>

$H Arundel Marbles. Sculpture

Arundel Marbles. A collection of ancient sculptures found in Greece and Asia Minor in the early part of the 17th Century and brought to England at the expense of Thomas Howard, Earl of Arundel. In 1667 his grandson prese= nted them to the University<= /st1:PlaceType> of Oxford. (1883m= 1)

Arundel Marbles. A collection of ancient sculptured marbles collected by Mr. Petty (an ances= tor of the Lansdown family), in the early part of the seventeenth century, in= the course of travel in Greece and Asia Minor at the expense of, and for, Tho= mas Howard, Earl of Arundel, part of which was presented by his grandson, Mr. Henry Howard (afterwards the Duke of Norfolk), to the University of Oxfor= d in the year 1667, after they had been unfortunately neglected and defaced in= the Great Rebellion, and many lost. The collection, when entire, consisted of= 37 statues, 128 busts, and 250 inscribed marbles, and the invaluable cameos and intag= lios which now form the "Marlborough Gems." "I cannot," sa= ys Peacham, in his Compleat Gentlema= n, first printed in 1634, "but with much reverence mention the everyway Right Honourable Thomas Howard, Lord High Marshall of England, as great f= or his noble patronage of Arts and ancient learning as for his high birth end place; to whose liberal charges and magnificence this angle of the world oweth the first sight of Greek and Roman statues, with whose admired pres= ence he began to honour the gardens and galleries of Arundel House about twenty years ago, and hath ever since continued to transplant old Greece into England." The Arundel, together with the Pomfret, Marbles, are prese= rved at Oxford, and that which the University places at the head of its collection is the Greek inscription known as the "Parian Chronicle," from its having been kept in the island of Paros. It is a chrono1ogical acc= ount of the principal events in Grecian, particularly Athenian, history, from = the reign of Cecrops, B.C. 1450, to the archonship of Diognetus, B.C. 264. (1= 855f1)

$H Arundel Society.

Arundel Society. A society established in London in 1848 for the purpose of facilitating the study of Art by the publication of rare historical and practical works, and of engravings from the more important examples of architecture, sculpture, painting, and ornamental design. Among their wor= ks is a new translation of Vasari's Life of Fra Angelico, illustrated with outlines of his prin= cipal works, and a series of engravings from the same artist's frescoes in the Chapel of Nicholas V. in the Vatican; the "Pieta" from the fres= co by Giotto, in the Chapel of Santa Maria dell'Arena, at Padua; and reduced casts in plaster = and bronze of the "Theseus" and "<= span class=3DSpellE>Ilissus" in the Elgin collection, British Muse= um. The society have also employed an artist to copy Gio= tto's frescoes in the Arena Chapel, at Padua, and have pointed out many other e= arly frescoes and pictures they would desire to copy and publish as evidences = of the talent of the early painters, and materials toward the history of Art= . A short designation being desirable for the society, the name of Thomas How= ard, Earl of Arundel, who has been called "the father of vertu in England," and the &quo= t;Maecenas of all polite arts," was selected for= that purpose. (1855f1)

$H Arundo. Roman

R. A term with vario= us significations.

(1) A reed or cane. =

(2) An arrow or bow = made of cane.

(3) A fishing‑= rod.

(4) A cane rod tippe= d with bird‑lime for catching birds.

(5) A reed pen for w= riting.

(6) A Pan's pipe in = which the reeds were joined together by wax; whence its name arundo cerata. (See CALAMUS.) (1883m1)<= o:p>

$H Arunr. Egypt

The Egyptian name of an unidentified town = in Palestine. (1876= c1)

$H Arusias.

A city of Minni, wh= ich was destroyed by Assurbanipal, king ofAssyria, after the defeat of its king, Ahsera. (1876c1= )

$H Arutaikasataika. Egypt

A mystical title of Amen Ra, in the CLXVIth chapter of the Ritual of the Dead. (1876c1)=

$H Arvanel.

In Zendic myth= ology the sacred river from which the first created human beings drank. (1876c1= )

$H Arwakr. "Wakeful." Scandinavia<= /st1:place>

Arwakr. "Wakeful." In Scandinavian mytholo= gy the name of one of the two horses of the sun. (1876c1)

$H Arx. Roman

R. (arceo, to enclose). A citadel or fortress. Arx is = almost equivalent to ACROPOLIS (q. v.), since citadels were usually built on elevated .sites, thus forming an upper city (•6D`B@84H[=3Dakropolis]). (1= 883m1)

$H Aryaman. Egypt

The Aryan name of the Supreme Being. (1876= c1)

$H Aryandes. Persia

The Persian Viceroy of Egypt under Darius Hystaspes. He was put to death by his master on a suspicion of high treason. (1876c1)

$H Aryanem Vaedjo. Iran

In Iranian mythology the name of the origi= nal birthplace of the human race. (1876c1)

$H Aryaratha.

According to the consensus of Japhetic traditions, the name of the birth-place of mankind. (1876c1)

$H Aryballos, Aryballu= s.

Aryballus. An antique vase, whic= h was used to draw liquids from vessels of a larger size, and also to hold the = oil with which bathers rubbed themselves down. It was almost spherical in form with a narrowed neck and a small handle. ILLUS. aryballu (1891a1)

<= /o:p>

Aryballos. A Greek flask or vase used for oil or wine. I= t was commonly of a bladder shape with a thin neck. The example engraved (Fig. = 46) is painted in the Asiatic style. On some of these vases the ornament is engraved. Fig. 46. Greek Aryballos. (1883m1)

Aryballos.= A vase for ointments or perfumes, used by the nations of antiquity, who gave it = that name from its resemblance to a purse. It is of globular form, and was mad= e of various sizes. FIGURE(1855f1)

<= /o:p>

$H Arysteres.

Arysteres.= Smaller vessels for taking the wine from the crater and distributing it to the guests. See CYATHUS. (1855f1)

$H Arystichos. Greek & Roman

Gr. and R. (from = •D= bT, to draw water). A vessel for drawing water, especially from the AMPHORA (q.v.). It w= as also called = ephebos (= §N0$@H[=3Dephebos]), beca= use, at banquets, it was the duty of youths to mix the wine with water before han= ding it to the guests. This term has as synonyms aruter, arusane, arustis and oinerusis. (1883m1)<= /o:p>

$H Arza.

A small town between Egypt and Palestin= e on the river of Egypt, which was conquered by Esarhaddon and annexed to Assyria. (1876c1)<= /o:p>

$H Arzania.

A river of Armenia, near to which Seduri, king of Armenia, was utterly defeat= ed by Dayan Assur, the Tartan= of Shalmaneser II. (1876c1)

$H Arzanibu.

A Mesopotamian people who were conquered b= y Tiglath Pileser I. (1876c1)

$H Arzica. Greek

Arzica. (1) An artific= ial pigment of a yellow colour, used for miniature painting.

(2) A yellow lake made from the herb "reseda luteola." <= /p>

(3) A yellow earth for painting, of which the moul= ds for casting brass are formed; it yields an ochreous pigment of a pale‑yellow colour, which,= when burned, changes to an orange colour. (1883m1)=

Arzica. There are two pigments known by this name to mediaeval writers on Art. Accordin= g to Cennini, it was an artificial pigment of a yellow colour, much used at Florence for min= iature painting. The Bolognese MS. of the same period shows that it was a yellow lake made from the herb gualda, which is the Spanish and Provençal name for the reseda luteola, which plant has been used as a yellow dye throughout Europe, from a very early p= eriod. This yellow lake was known to the Spanish painters under the name of ancora or encora. The other kind of ARZICA is stated to be a yellow ear= th for painting, of which the moulds for casting brass are formed; it yields= an ochreous pigment of a pale yellow colour, which, when burned, changes to = an orange colour. *

* = Vide Mrs. Merrifield's Ancient Practic= e of Oil Painting. London, 1849. (1855f1)

$H Arzicon.

Arzicon. A contracti= on of Arsenicon, for orpiment (q.v.). (1883m1)

Arzicon, <= span style=3D'background:yellow;mso-highlight:yellow'>Arsicon. A contra= ction or corruption of the word ARSENICON the Greek name for orpiment (auripigmentum). The word ARZICON= must not be confounded with AZARCON, the Spanish name for red lead. (1855f1)

$H Arzuhina. Babylon

A Babylonian city where for a time Maruduknadinahi, or Merodachid= din-akhi, was defeated by Tugulti Palesar I., king of Assyria. (1876c1)

$H Arnafgesf. Egypt

$H Arnebaskenis.

$H Arnis. Greek & Roman

$H Arnutha. Egypt

$H Aroeris.

$H Arotoi‑Hieroi.<= span style=3D'mso-spacerun:yes'> Greek

$H Aroura. Egypt

$H Arp. Egypt

$H Arpad.

$H Arpaesis. Egypt

$H Arparphesep. Egypt

$H Arphaxad.

$H Arquebus.

$H Arra or Arrha. Roman

$H Arraché. Heraldry [See Erased.] (1891a1)

$H Arrafa. Arabia

$H Arrangement. Painting

$H Arras.

$H Arrat. Assyria

$H Arrex. Egypt

$H Arrhae Sponsalitiae= .

$H Arrhephoria. Greek

$H Arricciate, Arriciare.

$H Arrpakh. Egypt

$H Arricciate. Italian

$H Arris. Architecture

$H Arrondi or Arrondie= . Heraldry

$H Arrow. 1. General; 2. Egypt; 3. Christian Art

$H Ars. Egypt

$H Arsa.

$H Arsaces.

$H Arsaphes. Egypt

$H Arsenic, Arse= nikon.

$H Arsenicon.

$H Arsinoë or Ars= inoe. Egypt

$H Arsinoe Philadelpho= s. Egypt

$H Arsinoe Philopator<= /span>. Egypt

$H Arsinois. Upper and Lower. Egypt

$H Arsinoites. Egypt

$H Arsiyanis.

$H Arsu. Or Areos.

$H Art. Egypt

--- $H Art, Collections of. See COLLECTIONS. (1855f1)

$H Artabardes.

$H Artaeus.

$H Artames. Egypt

$H Artasirari.

$H Artaxerxes I. Longmanus. Persia

$H Artemidos, Speos.

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

$H Artemisia. Greek

$H Artemisium. "Temple of Artemis, i.e. Diana."

$H Articarmin. Or Artukas.

$H Articulation.

$H Artihor. Egypt

$H Artimer. Egypt

$H Artimpasa. Scythia

$H Artines. Egypt

$H Artinu. Egypt

$H Artisan. <= /h1> A name formerly applied to artists, but now only given to those workmen employed in various mechanical trades who possess some spec= ial skill, in which, however, invention plays no part. The artisan's business= is to translate in various materials the artist's design. (1891a1)

$H Artistically.

$H Artist's Proof. <= /span> [See Proof.] (1891a1)

$H Artolaganus. Roman

$H Artophorium. Christianity

$H Artopta. Greek & Roman

$H = Artopticius. Roman

$H Arts, Society of. See SOC= IETY. (1855f1)

$H = Artu. Egypt

$H Art-Unions.

$H = Aru. Assyria

$H = Arua.

$H = Aruhaba. Egypt

$H Arum. Or Aram<= /span>.

$H = Aruna. Egypt

$H = Arunata. Egypt

$H Arundel Device. <= /span>

$H Arundel Marbles. Sculpture

$H Arundel Society.

$H Arundo. Roman

$H Arunr. Egypt

$H Artisan. <= /h1>

A name formerly applied to artists, but now only given to those workmen employed in various mechanical trades who possess some spec= ial skill, in which, however, invention plays no part. The artisan's business= is to translate in various materials the artist's design. (1891a1)