$H Aua. Egypt

The wife of Amenemapt= , a priest of Amen Ra, in the reign of Ai or Atefnuter= Ai, a king of the XVIIIth dynasty. (1876c1)

$H Auait. Egypt

An uncertainly identified Egyptian goddess. (1876c1)

$H Auau. Egypt

The Egyptian name of a species of hunting-hound, which was much used in the XVIIIth and XIXth dynasties. (1876c1)

$H Auauait. Egypt

An unidentified country to the South of Eg= ypt. (1876c1)

$H Audhumbla. Scandinavia<= /st1:place>

In Scandinavian mythology the mystic cow on whose milk the giant Ymir was suckled. Compar= e the Egyptian myth of Tefnu. (1876c1)

$H Audr. Scandinavia<= /st1:place>

Another form of the name of the Scandinavi= an deity Udr. (1876c1)

$H Aufaa. Egypt

A priest of Apis, in the XXVIth dynasty. The son of the priest Schedsnefer and the lady Nesma= ut. (1876c1)

A priest of the deity Maut. Period uncertain. (1876c1)

$H Aufna. Egypt

An Egyptian monarch of the XIIIth dynasty. (1876c1)

$H Aufrer. Egypt

An Egyptian officer, the father of the governor Nesahor, which see. (1876c1)

$H Augurale. Roman

R. (augur, a soothsayer). In a Roman camp the augurale was a place situated to the right of the general's tent or PRAETORIUM (q.v.). It was so called because the augurs there took their station to observe the flight of birds. In Greece, the oracles were consulted; b= ut in Rome questions w= ere addressed to Jupiter, who answered simply "Do" or "Do = not," by his messengers the birds. They gave no prophecies. (1883m1)=

$H Augustine's Oak.

Augustine's Oak, at Aust on the Severn; the scene of the conference between St. Augustine and the British bishops= , A.D. 602. (1883m1)

$H Aui. Egypt

See Ai, = or Atefnuter Ai. A king of Egypt in the XVIIIth dynasty. (1876c1)

A choristress of the goddess Bast. She was the siste= r of an officer named Pthahmai, and lived probably at a late period. (1876c1)<= /p>

An Egyptian lady, the wife of Titia the chief of the scribes of Amen Ra, in the reign of Thothmes III. (1876c1)

$H Aukheperu. Egypt

Priest of Apis= . He was the son of Pakhrua and the lady Hathorhat. The period when he lived is uncertain. (1876c1)

$H Aula. Greek & Roman

Gr, and R. (= "Û= 8Z[=3Daule]).

(1) An open court at= tached to a house. It was usually in front, and on either side of it were the stables and offices. When it belonged to a farm it was round this courtya= rd that the stabling, sheepfolds, and other outhouses were arranged.

(2) Aula regia was the central part o= f the scene in a Greek or Roman theatre. (1883m1)

$H Aulaea or Aulaeum.

R. (aula= , a hall).

(1) Hangings or tape= stry used to decorate the dining‑room or triclinium, or generally,= any piece of tapestry used as a curtain, whether to cover a doorway, act as a= screen, or hide the stage in a theatre.

(2) The covering of = a sofa or dining‑couch, also called, from the way in which it hung all rou= nd it, peristro= ma (= B,D\FJDT:"[=3Dperistroma]). <= span class=3DSpellE>Aulaea is almost synonymous with VELUM (q.v.). (188= 3m1)

$H Aulmonière.

The Norman name for = the pouch, bag, or purse appended to the girdle of noble persons, and derived from the same root as "alms" and "almoner." It was mo= re or less ornamented and hung from long laces of silk or gold; it was somet= imes called Alner. (Fig. 52.) (See ALLOUYÈR= E.) Fig. 52. Aulmonière.

I will give thee an alner

Made of silk and gold clear.

(Lay of Sir Launfal.) (1883m1)

$H Aulos. Greek

Gr. The Greeks gave this name = to all wind instruments of the flute= , or oboe, kind; it was not blown at = the side like a flute, but by a vibrating reed in the mouthpiece, like a clarionet. The single flute was called monaulos, and the double one diaulos. (1883m1)

$H Aumbrie, Aumery. See Almery.

$H Aumery of Here. Old English

O.E. A cupboard with hair‑cloth sides for ventilation. A meat‑safe. (1883m1)

$H Aumuce, Amess. Christian, Costume; see Almuce

$H Auntum. Egypt

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

$H Aupa. Egypt

The Egyptian name of an unidentified distr= ict in Upper Syria. (1876c1)

$H Aur. Egypt

A common Egyptian epithet name of the rive= r Nile. (1876c1)

$H Aurauaakarusaank. Egypt

The name of a mystical cow, who is adored = in the CLXIIIrd chapter of the Ritual of the Dea= d. (1876c1)

$H Auravadaspu. Bactria

An early Bactrian king, of the Keanian dynasty. He was the father of Vistaspa, who introduced the Zendic faith into Bactria, and was called Lohrasp by the Persian writers= of the Middle Ages. (1876c1)

$H Aureola. Christian

Aureola. Chr. (aurum, gold). A quadrangular, circular, or elliptic halo surrounding the bodies of Christ, the Virgin, or certain saints. Another name for this ornament is = the mystical almond or VESICA PISCIS= (q.v.). When it envelopes the head only it is called the NIMBUS. (1883m1)

Aureole. An aureole in the language of art is the luminous circle which surrounds the head of deities or saints represented in pictures or stained‑glass windows. Sculptors, too, sometimes place above their figures a circle gilded or ornamented with stars to represent an aureole.= In this case, however, it is generally called a nimbus. 2 ILLUS. aureole1, aureole2 (1891a1)

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

Aureola, Glory, Nimbus. From a very early period in the history of Christian Art it has been customary to depict that "halo of light and glory," as a luminous nebula supposed to emanate from and surround divine persons. When it is limited to the head only, it is termed NIMBUS; when it envelops the whole body, it is the AUREOLA. These attributes are = very characteristic in iconography, and it is important to the artist to study= their varieties, else he may be led to commit the greatest errors; confounding,= and after the eleventh century the nimbus was exclusively employed to disting= uish sacred personages, as the Saviour, the Virgin Mary, angels, apostles, sai= nts, and martyrs. NIMRI are properly depicted of gold; but sometimes in staine= d windows they appear of various colours. = 1 They are perhaps, the creator with the created, the living with the dead,= in his works. The nimbus is of Pagan origin, and was with much opposition ad= mitted into Christian Art. It was probably derived from the Romans, who ornament= ed the statues of their divinities and emperors with radiated crowns. The co= lossal statue of Nero wore a circle of rays, imitating the glory of the sun; and similar insignia are seen on medals, round the heads on the coins of the = consuls of the later empire. This custom was discontinued in the middle ages, of = various forms, the most frequent is that of a circular halo, within which are var= ious enrichments, distinctive of the persons represented. 2 In that of Christ it contains a cross more or less enriched= ; in subjects representing events before the Resurrection, the cross is of a s= impler form than in his glorified state. The nimbus most appropriate to the Virg= in Mary consists of a circlet of small stars; angels wore a circle of small rays, surrounded by another circle of quatre-foils, like roses, interspersed wi= th pearls. Those for saints and martyrs were similarly adorned; but in the fifteenth century it was customary to inscribe the name of the peculiar saint, especially the apostles, round the circumference. A nimbus of rays diverging in a triangular direction, which occurs but seldom before the fourteenth century, is attached to representations of the Eternal Father;= and his symbol, the hand in the act of benediction, was generally encompassed= by a nimbus. When the nimbus is depicted of a square form, it indicates that= the person was living when delineated, and is affixed as a mark of honour and respect. From the fifth to the twelfth centuries, the nimbus sometimes as= sumed the form of a disc over the head. Thence to the fifteenth century it appe= ars as a broad golden band behind the head, composed of concentric circles, frequently enriched with precious stones. From the fifteenth century it became a bright fillet surrounding it (and this is the mode of representa= tion most frequently adopted in the present day). In the seventeenth century it disappeared altogether, to be revived again in the nineteenth. As an attribute of power, the nimbu= s is often seen attached to the heads of evil spirits. In many of the illumina= ted books of the ninth and following centuries Satan wears a glory. It is also seen in a representation of the beast of the apocalypse, six heads of whi= ch have the nimbus; the seventh, wounded and drooping, is without that sign = of power. 2 FIGURES

1 = "I believe these coloured glories to be symbolical, but am not sure of the application of the colours. Among the miniatures of the Hortus Deliciarum, painted in 1180, is a representation of the celestial paradise, in which = the virgins, and apostles, the martyrs, and confessors wear the golden nimbus; the prophets and = the patriarchs, the white or silver nimbus; the saints who strove with temptation, the red nimbus; those who were married have the nimbus green; while the beatified penit= ents have theirs of yellowish white, somewhat shaded." - DIDRON, Iconographie Chretienne, p. 168.

2 = In Pugin's excellent Glossary of Ecclesiastical Costume and Ornament will be found delineations of the proper nimbi for the various = sacred characters an artist may wish to represent.

As stated above, the aure= ola is the nimbus of the whole body, as the nimbus is the aureola of the head; t= he word is derived from the Latin au= ra, a gentle wind, zephyr, exhalation. The aureola and the nimbus are of a similar nature - "a solid light, a transparent cloud," but they= are often confounded. The aureola is as a mantle of light, which envelops the body from head to foot; its use is much more limited than the nimbus, bei= ng confined to the persons of the Almighty, Jesus, and the Virgin Mary. Sometimes, however, it is seen enveloping the souls of the saints (never the bodies), and of Lazarus. The variations in the form of the aureola depend upon the position of the person represented; if erect, the aureola is oval, elliptic, or almond-shaped; if seated, it becomes nearly= or quite circular; sometimes the oval is placed within a circle; at others, the aureola forms four lobes, each encompassing a salient portion of the body, one comprising the head, one the feet, the others the arms. The aureola is frequently intersected by a rainbow, upon which is seated Jesus or the Vi= rgin Mary. The AUREOLA is rarely depicted in pagan iconography, and is much mo= re restricted in its use than the NIMBUS. We have shown that the nimbus of t= he head, and the aureola of the body, differ notably, yet both are composed = of the same elements, are sometimes figured in the same manner, and convey to many the same idea: glorification, apotheosis, divinity. It is necessary, therefore, that a single word should comprehend the combination of these = two attributes, and be the generic term of both kinds of nimbus: therefore we call GLORY the union of NIMBUS and AUREOLA, the nimbus being peculiar to = the head, the aureola to the body, and the term GLORY is extended to the form= er and the latter united. 3

3 = The nimbus is an insignia which may sometimes appear microscopic in its dimensions, but it is always great in importance. A sculptor who makes or reproduces a Gothic statue, a painter who restores an ancient fresco or painting on glass, should pay the most scrupulous attention to this chara= cter encircling the head in certain figures, else he incurs the danger of redu= cing a saint to ordinary manhood, or of transforming a simple mortal into a go= d. This error is frequently committed by modern artists in the representatio= n of religious subjects; hence the nimbus in iconography is what the figures a= nd mammae are in zoology, characters very smaller to the eye, but very impor= tant to the sense. Ample details of all the various forms and applications of = the GLORY are given in Didron's Manuel d'Iconographie Chretienne.(1855f1)

&nbs= p;

$H Aureole. <= span style=3D'mso-spacerun:yes'> (See AUREOLA.) (1883m1; 1891a1)

$H Aureoled. Heraldry

(Her.) Said of sacred figures the head of which is surrounded by an aureole. (1891a1)

$H Aurera. Egypt

An Egyptian royal lady in the XIIth dynasty, the mother of Prince Bebe, which see. (1876c1)

$H Aureri. Egypt

The Egyptian form of the name of the Roman emperor Verus as emperor of Egypt in the XXXIInd dynasty. (1876c1)

$H Aureus. Roman

R. (s= c. nummus, golden). The unit of value for gold currency under the R= oman emperors, worth about a guinea. (1883m1)

$H Auripetrum.

Auripetrum. A cheap imitation of gold leaf; made of tinfoil coloured with saffron. (1883m1)

Auripetrum= , Auripentrum. An e= conomical substitute for gold used in mural painting in the middle ages; it consist= ed of leaves of tin-foil varnished, the gold oolour being imparted to it by = the addition of saffron. Another substitute was called PORPORINO, a compositi= on of mercury, tin, and sulphur, similar to the gold powder used in chromo-l= ithography and other colour printing. (1855f1)

$H Auripigmentum. &nb= sp;

Auripigmen= tum. The name given by the Romans to ORPIMENT, or the yellow sulphuret of arsenic. (1855f1)

$H Aurka. Egypt

An unidentified country to the South of Eg= ypt. (1876c1)

$H Ausar [See Osiris - Editor]

$H Ausar Hapi [See Serapis - Editor]

$H Au'si and Husia. Assyrian for Hosea [Editor - see Ho= sea]

$H Ausim. Egypt

The modern name for the Egyptian city and = nome of Latopolis or Aa, which see. (1876c1)

$H Auspicium. Roman

R. (aves asp= icio). Divination from observation of the flight of b= irds. (Auspicium ex avibus, signa ex avibus.) T= here was also the aus= picium coeleste or signa ex coelo, of which the most important was a flash of lightning from a clear sky. Besides these there were the auspicia pullaria, or auspices taken from the sacred chi= ckens; the auspicia= pedestria, caduca,= &c. (See AUGURALE.) (1883m1)

$H Austere.

Austere. A= term, when applied to Art, used in the sense of a rigid rendering of what the artist conceives to be unadorned truthfulness, and which rests its merits= on that alone, casting off all adventitious or meretricious aid, and is consequently little understood or regarded by any but classical students, appealing as it does to the mind rather than the eye. (1855f1)

$H Austri. Scandinavian

Austri. "East." In Scandinavian mythology = one of the four horns which supported the vault of heaven when the gods made the= sky out of the skull of the giant Ymir. (1876c1)

$H Aut. Egypt

An Egyptian god. He was simply the idea of "triumph" personified as a deity. (1876c1)

$H Autenisu. Egypt

An unidentified country mentioned in the Egyptian inscriptions. (1876c1)

$H Authepsa. Greek & Roman

Gr. and R. (= "Û= 2X= R0= H[=3Dauthepses]). Literally a self‑boiler; it was a sort of kettle or cauldron, which was exposed to the rays of the sun, to heat the water within it; whether, however, the ancients had atta= ined the art of raising water to boiling heat, in this manner, it is impossibl= e to say. The apparatus is mentioned by Cicero and Lampri= dius, but neither of them gives any description of it. (1883m1)

$H Authu. Egypt

The Egyptian name of a district between Sarepta and Tyre, on the sea-coast of Palestin= e. (1876c1)

$H Autiyara.

A province of ancient Media, which is name= d in the Behistun inscription of Darius Hystaspes. (1876c1)

$H Autography.

A process which consists in writing or drawing with thick ink on paper specially prepared. The drawing or writing is then transferr= ed simply by pressure on to a lithographic stone, and by means of another st= one any number of prints can be struck off. The advantage of autography is tha= t it is a process which any one can employ who can draw with pen and ink, and = that the original can be exactly reproduced; its drawback is that, except when handled by skilled specialists, the prints furnished by this process are = apt to be blotchy and blurred. (1891a1)

$H Automaton.

Automaton. (Gr.) A mechanical figure, constructed to move by machinery coucealed within it. The ancients frequently mentio= n such figures, which, when they represented men, were called androides. Plato and Aris= totle speak of statues made by Daedalus which could= walk; of a bronze fly which had complete power of motion, &c. In modern tim= es the flute-player, by Vaucanson, and the works= of Maillardet are among the most remarkable of such productions, which are now generally confined to French clocks, snuff-box= es, and barrel-organs. (1855f1)

$H Auu. Egypt

A priest of Osiris, and Smer= of the palace of an unnamed monarch of the VIth dynasty. (1876c1)

$H Av. = Egypt

A mystical deity who is represented as Criocephalic with the solar disk on his head, holdi= ng a viper in his left hand, and the Ankh cross in his right, while the folds = of the serpent Mehen are over his head and aroun= d him. He was a form of the deity Khnuphis, and is f= igured in the Book of the Lower World. (Deveria). (1= 876c1)

$H Avalokita.

Avalokita= . "The Manifested." A Sanskritic title of the S= upreme Being as a revealer of himself to man. (1876c1)

$H Avantail.

Aventail. = The front = of a helmet which could be pushed back at pleasure. In a helmet which covered = the whole face it was a necessity, to prevent suffocation. It superseded the = nasal of the 11th century, and i= tself gave way to the visor of the = 14th century. ILLUS.<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'> avantail (1891a1)<= o:p>

Aventail<= /span> (AVANT TAILLE, = Fr.) The moveable front of the h= elmet which covered the whole face, and through which the air was breathed. In = many instances the sight could only be obtained by a space left for the eyes between the lacing of the helmet and aventail. This, under various names, was soon superseded by a more convenient and a= iry face-guard, such as the visor. The <= st1:place w:st=3D"on">Normans called nasals, cheek-pieces, and all other protections for the face ventailles, or aventailles. *

FIGURE

* = Our cut exhibits an aventail of the time of Edward III., as worn by a figure of S= t. George, at Dijon<= /st1:place>. (1855f1)

$H Avaris. Egypt

The Greek name of Hat-uart, a city mentioned by Josephus (con= tra Apion) as having been built by the Hyksos, and eventually their last stronghold in Egypt, it being the last place to give way before the new Egyptian dynasty, which drove out the invaders. Its site is doubtful, some identifying it with Tanis; possibly it was on the coast near Pelusium. (1902b1)

A town on the Bubasti= c branch of the Nile. It was anciently c= alled Ha-ouar and was fortified by King Setipeti Nubti, and mad= e the capital of the Shepherd Empire of the XVIIth dynasty. It has, according to M. Chabas, been wrongly considered to be Tanis, and was more probab= ly near Pelusium on the site of the ruins called= Tel el Her. (1876c1)

$H Avatar. Hindu

In Hindu mythology the name given to each = of the ten incarnations of the preserving deity Vishnu. (1876c1)<= /span>

$H Avellane.

A variety of the heraldic cross. (See CROSSES.) (188= 3m1)

$H Avena. Roman

R. (oats). A Pandaean pipe, made of the stalk of the= wild oat. (1883m1)

$H = Aventail. (See Ventaile - Editor)

$H Aventurine.

Aventurine= . A kind of brown glass, mixed with bright copper filings, formerly made at <= st1:place w:st=3D"on">Venice. (1883m1)=

Aventurine= . A delicate= kind of glass, the peculiar brilliancy of which is due to the presence of copper filings. Ave= nturine is also the name given to a certain colour between a green and a yellow. (1891a1)

Aventurine= . A brownish-coloured glass, interspersed with glittering laminae, which give= it a peculiar shining appearance. It was formerly manufactured at Venice, and empl= oyed for many omamental purposes. Its manufacture was kept secret, but it is known that its peculiar brilliancy was due to the presence of copper filings. French chemists have succeeded in preparing this glass by fusing together= for twelve hours a mixture of 300 parts of pounded glass, 40 parts of copper = scales, and 80 parts of iron scales; afterwards cooling the mixture slowly. (1855= f1)

$H Averta. Roman

R. A trunk, bag, or portmanteau, carried on the crupper by travellers who rode on horseback. (1883m1)

$H Aviarium. Roman

R. (avis= , a bird). (1) A poultry‑yard. (2) An a= viary in which birds ‑and more particularly those of rare breeds‑ w= ere kept. (1883m1)

$H Avil Kush. &= quot;Man of Kush.&quo= t; Chaldaea

The probable true form of the name of the mystical Chaldean king who was called by the = Greeks Evechous. (1876c1)

$H Avil-Marduk. "Man of Marduk." [See Evil-Mero= dach – Editor]

$H Avun. Etruria

A personage of Etruscan mythology. He is represented on a mirror as a warrior armed with a spear, in company with = the male Turan. (1876c1)

$H Awani Aoton.= Hindu

A great festival held by the Hindus, in the month of August, in honour of the god Siva. (1876c1)

$H Awzal.

The modern name of the province and town i= n Yemen which was probably the Uzal of Hebrew writers. (1876c1)

$H Axe.

Axe. The attrib= ute of St. Matthew (q.v.) and St. Matthias (q.v.). (1891a1)

Axe. In Christian Art the axe is the attributes of the Apostles Matthew and Matthias. Thomas à Becket h= as sometimes the axe as an attribute, but this is an error, it should be a s= word. (1855f1)

$H Axis. Roman

A straight line drawn through the centre of a figure in = such a way that the portions of the figure lying on opposite sides of the line correspond to one another symmetrically. (1891a1)

(1) The axle‑t= ree of a carriage.

(2) Axis versatilis was a cylinder wo= rked by a crank, and used for drawing water from a well by means of a cord whi= ch rolled round it as it revolved.

(3) The upright pivo= t upon which a door turned. It worked in two sockets, placed respectively in the upper and lower lintels. (1883m1)

$H Aya.

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

$H Aym.

Another form of the Arabian name Aimu, which see. (1876c1)

$H Ayurveda. Hindu

A commentary on the Hindu system of medici= ne derived from the Rigveda. (1876c1)=

$H Aza.

The son of Irranzi, king of Minni. He was slain by his subjects, = and his body thrown over a cliff with great ignominy, because of his fidelity= to Sargon II. his suzerain, against whom all the kings of Armenia had revolted except himself.(1876c1)

$H Azalla.

A people of Mesopot= amia who paid tribute to Assurnazirpal. (1876c1)

$H Azapirani. Or Atzupirane. Babylon

An ancient Babylonian city by the banks of= the Euphrates, which was famous as being the birthplace of the half mythical = Sargon I. (1876c1)

$H Azarcon.

The Spanish name for red lead. (1883m1)

$H Azariah. A king of Judah [See Uzziah - Editor]

$H Azau.

A king of Kirzan, who was conquered by Shalmaneser II. (1876c1)=

$H Azech Amen.

A king of = Ethiopia, probably of the a= ncient royal house of Seti I., which had long mainta= ined a precarious dignity at Napata in Southern Egypt He invaded and conquered Egypt in the reign of Uaserken I., and was proceedi= ng further to conquer Palestine= also, when he was defeated on the borders of Judah by King Asa, who at Zephath utterly routed his army, and by compelling him to retreat into Ethiopia, freed Egypt= from his dominion also. No further particulars of his reign are known. (1876c1= )

$H Azial. Assyria

An Assyrian chief who set up as governor of the town of Suru in the place of Ahiyaba its king, who was fla= yed alive by Assurnazirpal, king of Assyria. (187= 6c1)

$H Azibahal.

One of the ten sons of Yakinlu, king of Arvad. On the death of his father Azibahal and his brothers all contested the right of succession, but they agreed to refer the decision to Assurbanipal, king of Assyria, their suzerain, by whom Azibahal was declared the lawful successor, and the other princes were dismissed w= ith rich presents. (1876c1)

$H Aziluth.

In Cabalistic mythology the general name of the ten personal emanations of the Supreme Being, of which the Sephiroth formed the first triad, viz. "The Lo= rd of Spirits," "The Lord of the Elect One," and "The Lord = of the other Powers." (1876c1)

$H Aziz. " The Powerful."

In ancient Nabathean<= /span> mythology a deity whose character and attributes are uncertain. (1876c1)<= o:p>

$H Azlam.

The name of the blunt arrows used by the ancient Arabians in the art of divination. See Kehana. (1876c1)

$H Azotus.

A frontier town in Syria, which was besieged and captured by Psametik, = king of Egypt, after a siege of twenty-nine years. (1876c1)

$H Azrak.

An Amalekite t= ribe who settled in the district of Yathrib in Southwestern Arabia. (1876c1)

$H Azriyahu. A king of Judah

The Assyrian form of the Hebrew royal name= Azariah, which see. (1876c1) [See Uzziah instead - Editor]

$H Azu.

A king of Gozon who was conquered by Shalmaneser II. (1876c1)

$H Azulejo.

Tiles of enamelled faience of Mauro‑Spanish manufacture, used to cover the walls of buildings. The Hôtel de Cluny possesses some large plaques enamell= ed in this style, earlier in date than the end of the 15th century, as well as a large signboard of the factory of this Spanish pottery, which bears the inscription = Fabrica de Azulejos. (1891a1)

$H Azure.

Azure. <= /span>A blue colour known from the very earliest time= s. Azure stone was the name given to the lapis lazuli. The name is given als= o to COBALT. In heraldry it is the name for the blues in the arms of persons w= hose rank is below that of a baron; it is represented in heraldic engraving by regular horizontal lines. (1883m1)

Azure. (He= r.) The tincture blue. It is generally written az., and is represented in engravings by horizontal lines. The = term is also used in painting to denote a fine blue tint suggesting the colour= of the sky. It is obtained from copper, mercury, and lead. The name is also given to cobalt and ultramarine. In painting on enamel powdered azure is = used to produce a fine turquoise tint. (1891a1)

Azure. Man= y blue pigments are described by mediaeval writers under the general term AZURE,= which differ materially in their composition. The German azure was the native b= lue carbonate of copper, which yielded as fine a colour as ultramarine, altho= ugh it is not so permanent, at least in northern climates. The Egyptians used= a similar blue pigment, which has retained its brilliancy nearly unimpaired during three thousand years. The German = lazurstein yielded a pigment which was called asurblau= . Ultramarine was sometimes called = azure; but the various substances known to the early Italian painters, as azzuno della Magna, azzuno de Lombardia, azzurro Todesco, azzurro Spagnuole, azz= urro de Anglia, were only the blue carbonat= e of the oxide of copper. Azure is a name given also to COBALT. Its true tint = may be defined as a light or sky-coloured blue. Azure, in herald-painting, me= ans the blues in the arms of persons whose rank is below that of a baron. In engraving emblazoned coats of arms, this colour is always represented by regular horizontal lines. (1855f1)

$H Azuri.

King of Ashdod. He was tributary t= o Assyria, but refusing to pay his arrears to Sargo= n II., he was by that monarch deposed, and his brother Akhi= mit put on the throne. See Akhimit. (1876c1)

$H Azutappa.

A border town of Mes= opotamia conquered by Tiglath Pileser I. (1876c1)

$H Azyme. Christian

Chr. Unleavened bread. (1883m1)

$H Azzurro di Biadetto. &nb= sp;

Azzurro di Biadetto. (Ital.) <= span style=3D'font-size:12.0pt;font-family:"Times New Roman"'>The artificial carbonate of copper. The biadetto now sold in I= taly is the artificial pigment which is imported from <= st1:country-region w:st=3D"on">England. It is identical wi= th bice or cendres blue (<= span class=3DSpellE>Saunder's blue). (1855f1)

$H Azzurro di <= span class=3DSpellE>Pozzuoli. = ;

Azzurro di Pozzuoli differed from the above, it was the = Vestorian azure described by Vitruvius; a kind of glass composed of sand, nitre, and copper filings (AVENTURINE), used, when ground, chiefly in fresco-painting. It is sometimes called SMALTO. (1855f= 1)