$H Atramentale, Atram= entarium. Greek & Roman
|
Gr. and R. (=
atramentum,
q.v.). An inkstand, of any shape or mater=
ial
whatsoever. Inkstands were made of terra cotta, bronze, and silver. There=
is
a Pompeian painting in which a do=
uble
inkstand is represented, one side of which contains black ink, the other =
an
ink of some different colour. There were also
portable inkstands called theca.
(See THECA.) (1883m1) |
$H Atramentum. Graeco-=
Roman
|
Atramentum. Gr. and R. (ater, black). A general term =
to denote
any kind of black liquid; such were atramentum scriptorum, atramentum |
|
Atramentum. A black pigment. Pliny used this term fo=
r all
carbonised organic materials of a black colour used in painting; but two
other substances bear this name. Under ATRAMENTUM are comprised:- 1. Black
coal and peat; 2. Lamp-black, which the ancients obtained by burning pitch
and resinous woods in close reservoirs built for the purpose; 3. Stone bl=
ack,
prepared by carbonising the seeds of the grape, and used by Polygnotus and
Myron; 4. The black produced by carbonising the dregs of wine; 5. That
procured by grinding charred wood; 6. Burnt ivory, or ATRAMENTUM ELEPHANT=
INUM,
which Apelles discovered and first used in painting; 7. That obtained from
mummies (asphaltum); Pliny censures the use of this "carbon from gra=
ves."
The term atramentum is also used for other substances, such as writing-in=
k,
sepia, and the colouring material mixed with lime (lamp-black), used for
colouring walls. (1855f1) |
$H Atri. Hindu
|
In Hindu mythology certain deities emanati=
ng
from Brahma, whom he invested with the power of creation. (1876c1) |
$H Atrines.
|
The son of Opadarmes<=
/span>.
He raised an insurrection in |
$H Atriolum. Roman
|
R. (dimin. of Atrium). (1) A small atrium. It might be either a small=
er
atrium adjoining the principal one in a house, or the atrium of a dwellin=
g of
inferior size. (2) A small antechamber forming the entrance of a tomb.
(1883m1) |
$H Atrium. Architecture, Roman & Modern
|
Atrium. (Arch.) In= Roman buildings the atrium was a ce= ntral court surrounded by a colonnade, round which the smaller rooms were group= ed. It was a kind of vestibule either open to the = sky or covered with a curtain. In Byzantine architecture the atrium is the courtyard outside a building. Such is the atriu= m of the mosque of St. Sophia, which is surrounded by Ionic columns and decora= ted with basins of jasper. ILLUS. atrium<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'> (1891a1)<= o:p>
|
|
Atrium. R. and Mod. A term perhaps derived from Atria, a city of
|
|
Atrium. The most public room of a classic
house. It was open to the sky; had a projecting ornamental cornice which
supported the roof of the surrounding rooms, the rain-water from which was
gathered in a tank and supplied an ornamental fountain in the centre of t=
he
apartment. "The atrium was unquestionably the most essential and most
interesting part of a Roman mansion; it was here that numbers assembled d=
aily
to pay their respects to their patron, to consult the legislator, to attr=
act
the notice of the statesman, or to derive importance in the eyes of the
public from an apparent intimacy with a man in power." ** ** Moule, Essay on Roman Villas. (1855f1) |
![](3D"atr_files/image011.gif")
![](3D"atr_files/image012.gif")
![](3D"atr_files/image013.gif")
$H Atrmehit. Egypt
|
The Mer of the twenty-first nome of |
$H Attachment.
|
Attachments in anatomy are the points to which the muscl=
es
or ligaments are fixed. In the language of Art we particularly mean by
attachment the way in which a limb is set on the body. Thus we say a piec=
e of
sculpture has delicate attachments if the limbs are well set on the body,=
and
that the attachments are bad when they lack style and show signs of carel=
ess
study. (1891a1) |
$H Attamitu.
|
The commander of the archers in the army o=
f Ummanigus, king of |
$H Attegia. Roman
|
R. A hut or cabin made of reeds, and covered with th= atch. (1883m1) |
$H Attic. Architecture
|
(Arch.) The part of the entablature above the cornice. I=
ts
purpose is to hide the roof and add dignity to the design. The name attic=
is
also given to the top story of a building when it is only one‑half =
or
at most two‑thirds of the story below it. A good specimen of an attic is to be seen in Somerset =
House
in
|
![](3D"atr_files/image014.gif")
--- $H Attic‑order. Architecture
|
Arch. An arrangement of low pilasters, surmounting a building. (1883m1) |
$H Atticurge. Architecture
|
(Arch.) A square support, such as a pedestal, pillar, or
pilaster. (1891a1) |
|
Arch, (=
z!=
J=
J4=
6@=
LD=
(¬=
H[=3DAttikurges],
wrought in Attic fashion). A doorway, the
uprights of which, instead of being perpendicular, inclined slightly inwa=
rds,
so that the opening was wider at the threshold than immediately under the
lintel. Fig. 51 represents the doorway of an ancient monument at Agrigentum, in
|
![](3D"atr_files/image015.gif")
$H Attired, Attires. Heraldry
|
Attires, Attired, Her. The antlers of a stag or &quo= t;hart" having antlers. (1883m1) |
|
Attired. (Her.) As a lion is said to be armed (qv.) of his claws, so anim=
als
with ornamental weapons of defence such as stags are said to be attired. (1891a1) |
$H Attitude. Painting
|
Attitude. =
(Paint.) T=
he
attitude, the pose the movement of a figure should always be true to natu=
re,
and at the same time should afford the artist an opportunity for drawing
beautiful lines. (1891a1) |
|
Attitude. =
The
position of the whole body in a state of immobility, either instantaneous=
or
continued. In this respect ATTITUDE differs from gesture and action; the =
term
is more particularly employed in speaking of portraits, in which case it =
conveys
the idea of a certain preparation on the part of the painter to give pose to his sitter. (1855f1) |
$H Attributes.
|
Attributes. Conventional symbols of the character, o= r the agency, or the history, of subjects of art representation. (1883m1) |
|
Attributes. (Paint.) Attributes in painting are = those accessories which give character to a scene or figure. In a portrait, for instance, should the model be a literary man, he should be surrounded with books, if a painter with pictures, &c. Discretion and tact must be exercised as well in the grouping of the attributes as in their choice. In decorative art we speak of a group of attributes. In this case the word attributes denotes the instrumen= ts and accessories characteristic of an art, a profession, or even a sport ̴= 9; the attributes of painting, for example, of sculpture, of fishing, of the= chase, &c. (1891a1) |
|
Attributes. By attributes we understand
subordinate natural beings, or products of human workmanship, which serve=
to
denote the character and action of the principal figures. These things are
not so closely connected with spiritual life and character as the human b=
ody;
they must therefore be founded on faith, custom, and the positive laws of
Art. And here the inborn sense of the Greeks for noble and simple form, a=
nd
their great simplicity of life, came to the aid of Art. Every employment,
situation, and effort of life found in certain objects borrowed from natu=
re,
or created by the hand of man, a characteristic and easily recognised sign. Also in the creation of SYMBOLS, to
which belonged animals, vessels, and arms dedicated to the gods, there was
revealed, besides a religious fancy and a childlike naïveté of thought (much bolder combinations bein=
g as
deficient in use, as in reflection), a growing sense of appropriateness, =
and
also an appreciation of artistic forms. In ancient Art the figures were
principally distinguished by their often redundant attributes, but attrib=
utes
in a period of improved Art became very desirable additions, and clearer
developments of the idea expressed by the human form in general and
allegorical painting thus found in them many welcome expressions for abst=
ract
ideas. With the attribute was often united a reference to a definite acti=
on
borrowed from religion and life: and in this Greek Art had the skill of s=
aying
much by slight allusion; the language of ancient Art thence arising requi=
res
much study, since it cannot be divined by the natural feeling in the same=
way
as the purely human language of gesture. The interpretation is often rend=
ered
more difficult by the principle which belonged to Greek Art, of treating =
in a
subordinate manner, diminishing in size, and making less careful in
execution, everything that did not belong to the principal figure. This
negligence of the accessories was carried so far, that in figures of figh=
ting
gods and heroes, their adversaries, whether monsters or human figures, we=
re
frequently diminished, contrary to every requirement of modern Art, which
demands more real imitation and illusion, because the noble form of the g=
od
or hero is of itself capable of expressing everything by attitude and act=
ion.
* ATTRIBUTES, in Christian A=
rt,
when employed for the clearer designation of the personages of the old and
new Testament, are highly poetical. Ancient Christian Art preferred attributive action to dry attrib=
ute.
Thus we see † an old m=
an
with children on his knee symbolising Abraham=
, who
may also be recognised by the knife in his ha=
nd.
When Christ appears as a lamb, whose blood flows into a chalice, the
redemption is symbolised. In the carvings on =
old
Christian sarcophagi, Christ has a staff: in old pictures, a globe. The
ladder of heaven is a striking attribute for the patriarch Jacob,
and the harp for King David. The Virgin on the half-moon represents the a=
ssumption
of Mary: her girdle in a man's hand is a sign of the Apostle Thomas. The
pen-case and writing materials betoken the evangelists and fathers of the
church, but especially *<=
/span> Vide Muller's Ancient Art and its Remains. † On
the imperial Dalmatica among the treasures of St. Peter's at |
$H Atu. Egypt
|
A place in the ninth =
nome
of |
|
The Egyptian name of an unidentified Asiat=
ic
country. (1876c1) |
|
A priest of Amen Ra. The period when he li=
ved
is uncertain. (1876c1) |
$H Atum. Or Atmoo.
Egypt
|
Atum. Or=
Atmoo. The
Egyptian deity of the setting sun or darkness. He was called "the sun
who reclines himself," and was represented as an erect human figure,
wearing a crown composed of an expanded lotus surmounted with four upright
feathers, like those on the crown of Amen Ra. He was specially adored at =
|
$H Atuma. Assyria
|
A district in South-east Assyria, which was
conquered by |
$H Atuna.
|
A kingdom near |
$H Atur. Egypt
|
Atur. The Me=
r of
the sixth, or Tentyrite nome, of |
|
Atur. The Pe=
hu
of the eleventh, or Anteopolite nome, of |
|
Atur. The Me=
r of
the twenty-first, or An nome, of |
|
Atur. An Egyptian measure of length, corresponding t= o the stadium of the Greeks. (1876c1) |
|
Atur. An Egyptian name for the papyrus plant, Cyperus Nilotica. (1876c1) |
|
Atur. "River." The local name of the ancient port of the capital city of |
|
Atur. The name of one of the principal branches of t=
he
Nile, in |
$H Aturntamen. <=
span
style=3D'mso-spacerun:yes'> Egypt
|
An unidentified place to the East of
Elephantine, in |
$H Atut. Egypt
|
Another form of the Egyptian royal name |