$H Bric‑a‑brac.
|
A general term applied to curiosities of all sorts, work=
s of
art, furniture, whether valuable or worthless, which the curiosity dealer
exposes for sale in his shop. Here the amateur often unearths what he tak=
es
to be fine pearls and pays heavily for them, but finds them out to be not=
hing
but vulgar paste when he gets home. Apart from their value, however, they
often produce a picturesque effect.(1891a1) |
$H Brick. Egypt
|
Bricks. Ordinary
oblong bricks were made simply of clay mixed with chopped straw and a lit=
tle
sand, materials easily obtained, and suitable to the climate, quickly dry=
ing
by exposure to the sun. Tomb paintings shew us
brick-makers kneading the paste with the feet, pressing it into hard wood=
en
moulds, and laying the blocks out in rows to dry. After an exposure of ab=
out
half a day, these blocks were stacked in such a manner as to allow the ai=
r to
circulate freely about them, and remained thus for a week or two. For the
poorer dwellings the exposure was only for a few hours before the building
was commenced. In size the bricks usually measured 8.7 x 4.3 x 5.5; but a
larger size was also used, measuring 15.0 x 7.1 x 5.5. They were marked in
various ways, those made in the royal brickfields being stamped with the =
cartouche
of the reigning Pharaoh. A few glazed bricks have been found of the perio=
d of
the Ramses, at Tell Defe=
nneh
and Nebesheh. Wooden brick-moulds have also b=
een
found. The labour of brick-making was imposed on captives, the Hebrews not
being the only subject people thus made use of. A painting at Thebes,
executed long before the Mosaic period, shows us Asiatic prisoners making
bricks for a temple to Amen; and a passage in a papyrus (Anastasi
III., iii.) confirms the supposition we are led to by Exodus v. 8, that a
certain quantity of bricks was required daily from each worker.(1902b1) |
$H
Bricks. Architecture
|
(Arch.) Pieces of clay dried and baked in a furnace in t=
he
shape of small rectangular parallelopipeds. B=
ricks
have been universally used in rustic buildings, or those constructed only
with a view to use and economy. At the same time in artistic buildings
excellent results have been produced from judiciously mixing bricks and
stone. In the facades of chate=
aux of
the time of Louis XIII. pilasters of stone for=
m a
framework with excellent effect to panels of brick. In the annex of the <=
st1:place
w:st=3D"on"> |
--- $H Bricks, Common. Construction
|
(Constr.) Bricks made of san=
dy
clay mixed with argillous or calcareous
marl.(1891a1) |
--- $H Bricks, Perforated. Construction
|
(Constr.) Bricks pierced with
cylindrical holes used to lighten the construction of partitions.(1891a1)=
|
--- $H Bricks, Floating. Construction
|
(Constr.) Bricks manufacture=
d of
porous magnesia or siliceous tufa, which have=
the
property of floating on water. They are employed on account of their
infusibility in the construction of reverberating furnaces.(1891a1) |
--- $H Bricks, Dutch or clinker.<=
span
lang=3DEN-GB style=3D'mso-font-kerning:14.0pt;mso-ansi-language:EN-GB'> Construction
|
Bricks half vitrified by constant baking.(1891a1) |
<= o:p>
$H
Brickwork. Architecture
|
(Arch.) A construction or facing of masonry composed of
bricks.(1891a1) |
$H
Bridge.<=
span
style=3D'mso-spacerun:yes'>
|
Bridges, O.E. A kind of satin manufactured at Bruges.(1883m1) |
|
Bridge. (Arch.) A construction of stone, wood, or iron,
which spans a river or connects two points separated by a natural depress=
ion
of the earth. A bridge may consist of several arches, or of beams or gird=
ers
supported by piers, or it may be suspended on iron chains. The Romans were
the first who thoroughly understood how to make bridges, and their bridges
still remain among the most wonderful constructions of ancient times. In =
the
Middle Ages chapels and dwelling houses were frequently built upon the
roadway of bridges, as was the case on old London Bridge.(1891a1) |
--- $H Bridge. Egypt
|
Up
to the present time we only know of one bridge in Ancient Egypt and that
appears to have crossed a canal at Zaru, a fr=
ontier
town on the Delta. An illustration of it may be seen on the outside wall
(north end) of the Hypostyle Hall at |
$H Bridle.
|
A favourite Scriptural emblem of self‑restrain=
t and
self‑denial. The illustration is the device of Benedetto Arbusani o=
f
|
![](3D"bri_files/image017.gif")
$H
Brigandine Armour.
|
A species of defence consisting of small thin plates of =
iron
sewn on to leather. It was worn in the 13th century, and is said to have =
got
its name from the fact that it was first worn by irregular troops called =
"brigans."
Its great advantage was its flexibility.(1891a1) |
$H Brinded or Brindled. Heraldry
|
(Her.) Spotted, said of animals.(1891a1) |
$H Brio. Painting
|
(Paint.) A picture is said to be painted with brio or dash when it seems to have been done without exertion, but wi=
th
spirit, and as it were at the first attempt.(1891a1) |
$H Bristled. Heraldry
|
(Her.) Said of a boar when the hair on the back of the n=
eck
is of a different tincture from the body.(1891a1) |
$H Bristol Board. &nb=
sp;
|
Bristol board is a white board of a fine and satiny text=
ure.
It is frequently used as a mount to water‑colour or pencil drawings.
Bristol board of extraordinary whiteness is also used for pen‑and&#=
8209;ink
drawings, which have to be reduced for purposes of reproduction by one of=
the
modern processes of engravings. Water‑colour drawings and miniatures
which are to be very highly finished are often executed on Bristol board,=
its
smooth surface being well adapted for this method of work.(1891a1) |
$H Broach or Broch. Architecture
|
Broach. (Arch.) An old English term for a spire.(1891a1)=
|
|
Broach or Broch, O.E. A church spire, or any sharp‑pointed object, was frequently so called.(188=
3m1) |
$H Broad Arrow.
|
Broad Arrow, now used as the Royal mark on all Gover=
nment
stores, &c., was first employed as a regal badge by Richard I. (Fig.
103.) Fig.
103. Broad arrow.(1883m1)
|
![](3D"bri_files/image018.gif")
$H Brocade. <= /h1>
|
A silk stuff figured in gold or silver with systems of
ornament consisting of foliage, scrolls, flowers, animals., figures,
&c.(1891a1) |
|
A stout silken stuff of variegated pattern. Strutt s=
ays it
was composed of silk interwoven with threads of gold and silver. The stat=
e or
"ducal" costume of the Dogeressa of Venice, represented in the
illustration, consisted principally of an ample robe of the finest gold b=
rocade,
lined with ermine. (Figs. 88, 104.) Fig. 104.
|
![](3D"bri_files/image019.gif")
$H Brocatel.
|
A kind of Breccia marble,
differing considerably in colour. The brocatel of |
$H
Brocatelle.
|
An imitation brocade, lighter and l=
ess
rich than the last. Gold and silver do not enter into its composition, and
silk is only used in the figures worked on it.(1891a1) |
$H Broché.
|
Stuff ornamented in relief by means of a special process=
of
weaving.(1891a1) |
$H Broella.
|
Coarse cloth worn by=
monks
in the Middle Ages.(1883m1) |
$H
Broken Colour. [See Colour, Br=
oken.]
(1891a1)
$H Bromias. Greek
|
Gr. A drinking‑vessel of wood, or silver, resembling a large SCYPHUS (q.v.).(1883m1) |
$H Bronze and Bronzes.
|
Bronze. Antique bronze was composed of tin and copper; the modern bronze contains also zinc=
and
lead, by which the fluidity is increased, and the brittleness
diminished.(1883m1) |
|
Bronze. An alloy of copper, tin, and zinc, combined in
different proportions according to the purpose to which the bronze is to =
be
put; also a work of art cast in bronze. A small quantity of lead is added
when the bronze is to be employed in the reproduction of works of art. We
frequently speak of fine bronzes, antique bronzes, meaning thereby statue=
s or
statuettes cast in bronze. Antique bronzes are works of art of the highest
value. Whatever be their form or dimensions th=
ey
invariably give evidence of extraordinary science and widely extended
practical knowledge. After them must be mentioned bronzes of the 12th and
13th centuries, as well as those of the Florentines, such as Donatello and Ghiberti,=
which
are absolute masterpieces. In the time of Louis XIV. immense vases, those=
in
the garden at Versailles for instance, were cast in bronze, while the best
examples of the art during the last two centuries are equestrian statuett=
es
and Chinese and Japanese bronzes, in which the arts of founding and
chiselling the metal have reached their highest limit. To‑day the
manufacture of ornamental bronzes is one of the most flourishing of the
decorative arts.(1891a1) |
|
Bronze.
The favourite metal of the Egyptians. Even after the invention or discove=
ry
of bronze, flint implements were used. The proportions of the copper and =
tin
used by the Egyptians in making this metal vary according to the use for
which it was destined. Vases, mirrors and weapons contain from 80 to 85 p=
arts
of copper and 15 to 20 of tin. Bronze was largely used for making statuet=
tes
and miniature figures, but these do not occur until after the XVIIIth Dynasty. The bronze intended for mirrors an=
d fine
work has often an alloy of gold or silver. No representation of the worki=
ng
of this metal is seen on tomb walls. (See
COPPER AND TIN.)(1902b1) |
|
Bronzes (ancient Chinese) are rarely seen out of t=
he |
$H
Bronzing.
|
The art of laying a =
coating
of bronze powder on wood, gypsum, or other material. Another method is the
electrotype process. (Consult |
|
An operation, the purpose of which is to give objects an
appearance of bronze. There are two processes of bronzing. The one is not=
hing
more than the application of certain chemical grounds. The other, which is
chiefly concerned with metal objects, consists in the depositing of real =
bronze
by electrotyping. This process can be repeated as often as necessary and
gives to the objects thus covered an extraordinary hardness. A green or
coloured coating may be given to any object according to the tone of the
bronze which it is desired to imitate.(1891a1) |
$H
Brooch.<=
span
style=3D'mso-spacerun:yes'>
|
An ornament infinitely varied in form and material, and
always provided with a long pin. It is used in women's toilets to fasten
shawls, cloaks, collars, &c. ILLUS. brooch(1891a1)
|
|
(See FIBULA.) Anglo&=
#8209;Saxon
and Irish specimens of magnificent workmanship are described in the Archaeological Album. In the Mid=
dle
Ages brooches bore quaint inscriptions: Chaucer's "prioress" wo=
re &quo=
t;a broche of gold ful
shene. On which was first y‑wretten a crouned A, An=
d after,
A mor=
vincit omnia."=
Leather
brooches for hats are mentioned by Dekker in Satiromastix, 1602. Figs. 205, 206, 207 represent different
brooches found in Figs.
105 to 112. Gallic and Merovingian brooches. Fig. 113. Gallic brooch.(188=
3m1)
|
![](3D"bri_files/image020.gif")
![](3D"bri_files/image021.gif")
![](3D"bri_files/image022.gif")
$H
Brown.
|
(Paint.) A colour of a reddish tone, somewhat warm and at
the same time somewhat sombre, generally obtained from metallic oxides. S=
ome
browns are obtained from coal and belong to the series of aniline
colours.(1891a1) |
|
Brown, in Egyptian a=
rt, was
the colour consecrated to Typhon;
in ancient times it was the sign of mourning. Regarded as a compound of r=
ed
and black, BISTRE, it is the symbol of all evil deeds and treason. In a
monastic costume it signifies renunciation. With the Moors it was emblema=
tic
of all evil. Christian symbolism appropriates the co=
lour
of the dead leaf for the type of "spiritual death," &c.
(Consult Portal, Essai sur les=
Couleurs symboliques.)(1883m1) |
--- $H Brown Madder. (See MADDER 1883m1)
--- $H Brown Ochre.
|
A strong, dark, yellow, opaque pigment. (See OCHRES.)(1883m1) |
--- $H Brown Pigments.
|
Brown Pigments are <=
span
class=3DSpellE>asphaltum, bistre, umber, sienna, Mars brown, Cassel earth, Cappagh brown, brown madder, and burnt terra
verde; ‑ chiefly calcined
earths. (See also INDIGO.)(1883m1) |
--- $H Brown Pink.
|
Brown Pink (Fr. stil de grain). A vegetable yellow
pigment. (See PINKS.)(1883m1) |
--- $H Brown Red or Brown, Red.
|
Brown Red. Brown Red=
is
generally made from burnt yellow =
ochre,
or Roman ochre, or from calcined sulphate of ir=
on. (See
MARS.)(1883m1) |
|
Brown, Red. (Paint.) A kind of brown obtained by a diffe=
rent
degree of calcination from the same materials=
as
the ordinary brown pigments. In painting in water‑colour an opaque
brown of a brick‑red tone is employed. When mixed with other tints =
it
is rapidly precipitated.(1891a1) |
$H Bru=
nswick
|
A modification of MOUNTAIN GREEN (q.v.).(1883m1) |
|
|
$H Bruny or Byrne or Byrnan .
|
Saxon for a breastpl=
ate or
cuirass, called by the |
$H Brush. <=
span
lang=3DEN-GB style=3D'mso-ansi-language:EN-GB'>
|
Brush. (Paint.) Painting brushes are made of the hair or
bristles of animals securely fixed either in a quill or a ferule of tin a=
nd
fastened to a stick. They are either flat or conical in shape, and are us=
ed
to lay on and spread the colours. ILLUS. brush(1891a1)
|
|
Brushes. (See HAIR PENCILS.) =3D Hair Pencils or Bru= shes are made of the finer hairs of the marten, badger, polecat, camel, &c., mounted in quills or white iron tubes. The round brushes should swell all round from the base, and diminish upwards to a fine point, terminating wi= th the uncut ends of the hair. (See FITCH.)(1883m1) |
![](3D"bri_files/image023.gif")
$H
Brushwork. Painting
|
(Paint.) When a picture is painted with spirit and witho=
ut
affectation, or is freely and broadly treated, its brushwork is said to be vigorous.(1891a1) |
$H Brussels Point &agrav=
e;
l'Aiguille. =
|
Bruss=
els Point
à l'Aiguille differs somewhat from the lace usually known as Bruss=
els
Lace or Point d'Angleterre, but resembles Point d'Alençon in the
réseau ground. (Fig. 114.) (See POINT D'ANGLETERRE.) Fig. 114. Brussels Lace.(1883m1)
|
![](3D"bri_files/image024.gif")