$H Black.

Black is the resultant of the combination in unequ= al proportions of blue, red, and yellow.(1883m1)

Black denotes a quality classed among colours, due to the absence or total absorption of light. Black pigments are of two kinds, they are either produced by the calcination of animal or vegetable substances, or they are found in a natural state. To the first class belong lamp black, ivory bla= ck, Indian ink; to the second, black ochre, graphite, &c. In the art of t= he Middle Ages black symbolised darkness, death, mourning, evil, falsehood, = and despair. In heraldry black is termed sable (q.v.).(1891a1)

Black, in Christian art, expressed the earth; dark= ness, mourning, wickedness, negation, death; and was appropriate to the Prince = of Darkness. White and black together signify purity of life, and mourning or humiliation; hence adopted by the Dominicans and Carmelites. In blazonry, black, called sable, signifies prudence, wisdom, and constancy in adversi= ty and love, and is represented by horizontal and perpendicular lines crossi= ng each other.(1883m1)

--- $H Black Chalk.

A kind of bituminous schist or ampe= llite, used in the manufacture of drawing crayons.(1891a1)

--- $H Black Pigments.

Black Pigments are v= ery numerous, of different degrees of transparency, and of various hues, in w= hich either red or blue predominates, producing brown blacks or blue blacks. T= he most important are beech black, or vegetable blue black; bone black, or Paris black, called also i= vory black; C= assel or Cologne<= /i> black, cork black, Frankfort black, and lamp black. (See ASPHALTUM.)(1883m1)

$H Black‑lea= d.

Black‑lead, also termed plumbago or graphite. is a carboniferous substance which in found in <= st1:place w:st=3D"on">Cumberland, and = is used for making lead pencils. Its name is confusing, as it contains no lead.(1891a1)

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

(Her.) A term used when the stem or stalk is of a differ= ent tincture from the fruit or ear.(1891a1)

$H Blades. Architecture

Arch. The principal = rafters of a roof.(1883m1)

$H Blank. Numismatics

(Numis.) A disc of metal, wh= ich, after it is struck, becomes a coin.(1891a1)

$H Blanket.= Engraving

(Engrav.) A name given to the piece of flannel or thick cloth which is wrapped round the roller of the press when a line‑engraving is to be struck off. An elasticity of pressure is thus ensured during the printing, and the sheet of paper is applied with greater force to the surface of the plate.(1891a1)

$H Blase, St.

Bishop of Sebaste and martyr= . He is represented in Christian art in episcopal vestments, and he holds a crozier and book an= d a wool‑comb. From the last attribute, which was the instrument with w= hich he is said to have been tortured, he has become the patron saint of the w= ool‑combers.(1891a1)

$H Blasted.= <= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB'> Heraldry

Her. Leafless, withered.(1883m1)

(Her.) Said of a trunk of a tree with its branches lopped off and without leaves.(1891a1)

$H Blautai.

Gr. (Lat. soleae)= . A richly‑made shoe; a kind of sandal worn by men.(1883m1)<= /span>

$H Blazon. Heraldry

Her. Armorial compositions. To blazon is to describe= or to represent them in an heraldic manner. The representation is called Blazon= ry. For example, the blazoning of= the BADGES on the cornice of King Henry's chantry in Westminster Abbey is as follows: ‑ On the dexter, a white antelope, ducally collared, chain= ed, and armed or; and on the sini= ster a swan gorged with a crown and chain. The beacon or cresset or, inflamed proper. (See Fig. 5= 4 ‑ Badge of Henry V.)(1883m1)

(Her.) The charges or devices of a coat of arms are call= ed blazons. The accompanying cut represents Shakespeare's coat of arms. ILLUS. blazon(1891a1)

$H Blazonry. Heraldry

(Her.) A knowedge of the her= aldic art and of delineating coats of arms.(1891a1)

$H Blend or Blendi= ng. Painting

Blending. Passing ov= er painting with a soft brush of badger's hair made for the purpose, by which the pigments are fused together and the painting softened.(1883m1)

Blend. (Paint.) T= o soften tints so that they gradually diminish in intensity and blend with another tint or colour, which = has been similarly softened. In oil‑painting colours are blended= by delicately softening the colours into one another, and by gently mixing t= hem with a light brush passed over the surface. In watercolour or washed draw= ings tints are blended by means of fine brushes charged with colour more and m= ore diluted with water and finally with pure water.(1891a1)=

$H Blender.= [See Badgers.] (1891a1)

$H Blindman's Buff.

Called "hoodman‑blind," temp. Elizabeth.(1883m1)

$H Blind‑story. Architecture

Arch. The TRIFORIUM in a church. Opposed to the CL= EAR or CLERESTORY (q.v.).(1883m1)

(Arch.) A name sometimes given to the triforium (q.v.) of a church. It is so called as opposed to the clerestory which is above it and is pierced with windows.(1891a1)

$H Blister. Painting

(Paint.) A term applied to parts of a picture which swel= l, and so become detached from the canvas or panel.(1891a1)

$H Block. Sculpture

(Sculp.) A mass of unhewn stone or marble. The piece of wood upon which engravers work is also called a block.(1891a1)

$H Blocking‑course. Architecture

Arch. The last cours= e in a wall, especially of a parapet. The surface is made slightly convex to all= ow of water flowing off more easily.(1883m1)

$H Block of buildings. Architecture

(Arch.) A collection of buildings forming a compact mass= . In the construction of new streets or public ways whole blocks of houses oft= en have to disappear. We speak of a block of buildings forming the angle of a street or of a block of houses isolated by four streets. ILLUS. bloc= kofb(1891a1)

$H Blodbendes. Old English

Blodbendes (O.E. for blood‑bands). Narrow strips of= linen to bind round the arm after bleeding.(1883m1)

$H Blodius. Old English

O.E. Sky blue.(1883m= 1)

$H Bloodstone.

A green jasper with red spots = upon it. In the Middle Ages it was held in high honour, because it was said to have been the stone which lay at the foot of the cross and received the b= lood which dropped from the wounds of Christ.(1891a1)

$H Bloom.

The clouded appearan= ce which varnish sometimes takes upon the surface of a picture.(1883m1)=

$H Blottesque. Painting

(Paint.) Painted in heavy blots or masses; a term introd= uced into the language of art criticism by Ruskin, who opposes it to Dureresque. It first occurs in "Modern Painters," vol. iv.(1891a1)

$H Blue.

One of the three pri= mary colours, the complementary to orange. Blue, in Chri= stian art, or the sapphire, expressed heaven, the firmament, truth, constancy, fidelity, Its symbollism as the dress worn by= the Virgin Mary is of modesty. In blazonry it signifies chastity, loyalty, fidelity, and good reputation. Engravers represent it by horizontal lines.(1883m1)

(Paint.) One of the three primary colours, which possess= es the quality of coldness. The typical blues are Prussian blue, ultramarine, cobalt, and indigo. In the symbolism of early Christian art blue, as suggesting the sky, is symbolic= al of heaven and so of eternity, as well as of piety, godliness, &c. It = has always been adopted as the colour of the Virgin's robe. On ceilings it is used to represent the sky.(1891a1)=

--- $H Blue Black, Blue‑black or Charcoal Black.

Blue‑black. (Paint.) A cold black pigment obtained from well‑burnt charcoal. When mixed with white lead it produces silvery greys.(1891a1)

Blue Black, or Charc= oal Black, is a pigment prepared by burning vine‑twigs in close vessels. Mixed with white lead it yiel= ds very fine silvery greys. (See also BLACK PIGMENTS.)(1883m1)

--- $H Blue Pigments.

Minerals: ‑ see ULTRAMARINE, COBALT, BLUE VERDITER. Vegetable:= ‑ Indigo. Animal: ‑ Prussian blue. (See CARBONATE OF COPPER, INTENSE BLUE.)(1883m1)

--- $H Blue, Prussian. Painting

(Paint.) The Prussian blue used in water‑colour painting is of a greenish tint, but is easily laid on and of wonderful transparency and permanence. The Prussian blue used in oil‑painting= is one of the colours which have the most body, and when mixed with white it produces tones of great intensity. It is a compound of iron and cyanogen, the base of prussic acid.(1891a1)