$H Camaieu.

Camai= eu. (Paint. Engrav.= ) A painting= in a single colour in imitation of a cameo. The effect of a painting in camaie= u is produced by difference of tone, and objects are represented light on a da= rk ground or vice versa, but only one colour is employed, such as red, blue, black, &c. Paintings in imitation of bas‑reliefs, i.e. modelled with greys of diff= erent values, whites, or blacks, are called paintings in camaieu. These latter = are also termed grisailles (q.v.). Engravings in camaieu are printed in colour, but with ink of a uniform tint, the gradations of tone being obtained by hatchings. The term is applied as a = term of contempt to dull and monotonous paintings.(1891a1)

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

Camail (for cap̴= 9;mail). A tippet of mail attached to the helmet. In mediaeval Latin called camale, camallus, camelaucum<= /i>, calamaucus, calamaucum.(1883m1)

Camail. A name giv= en to the chain‑mail which w= as attached to the bascinet and covered a warrior's head and neck. Etymologically the term means cam= el's hair, and it was first applied to a garment of soft wavy texture worn= by priests, to the shape of which the chain‑mail bore some resemblance= . ILLUS. camail(1891a1)

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Camail. This term appears to be an abbreviation = of cap-mail - the mail or armour appertaining to the head-piece. The cut exhibits the camail on the effigy of Edward the Black Prince, at Canterbury. FIGURE (1855f1)

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$H Camara. (See CAMERA.) (1883m1)

$H Camaspates.

Camaspates. A Median general of Darius Hystaspes, who defeated and took prisoner the usurper Sitratachmes. (1876= c1)

$H Camayeu.

Camayeu. Monochrome painting, i.e. in shades of one colour, or in conventional colours not co= pied from nature.(1883m1)

Camayeu (Camaieu, Fr.) Monochrome. By this term we understand painting with a single colour, varied only by the effect of chiaro-oscuro; we apply this term to painting in grey (en grisaille), which, as well as= red, was used by the ancients. Pictures in two or three tints, where the natur= al hues of the objects are not copied, may also be called en camayeu; we speak of brown, red, yellow, green, and blue camayeu, according to their prin= cipal colours. The pictures of Polidori Caravaggio, for example, by their heavy brown tint, give the impression of monochrome painting, and with all their perfection they are but pictures = en camayeu. Drawings in red or black chalk, lead and other pencils, Indian-ink, sepia and bistre, as well as engraving, may be called CAMAYEU= X. (1855f1)

$H Camber. Archicture

Camber. Arch. A curv= e or arch.(1883m1)

$H Cambered.

Cambered. Curved, arched. A well‑cambered figure is a figure describing a graceful curve.(1891a1)

$H Camboge or Gamboge. =

Camboge or Gamboge. = A gum‑resin, forming a yellow water‑colour. The best gamboge is from Siam, and the kingdom of Camboj= a (whence its name). It should be brittle, inodorous, of conchoidal fractur= e, orange‑coloured or reddish yellow, smooth and somewhat glistening. = Its powder is bright yellow. An artificial gamboge, of little value, is manufactured with turmeric and other materials.(1883m1)=

$H Cambresian Faience.

Cambresian Faience. = The "poterie blance" of Cambrai is mentioned in a MS. of the 16th century. It was an enamelled faience.(1883m1)

$H Cambyses.

Cambyses. See PERSIAN DYNASTY.(1902b1)

Cambyses. The son of Cyrus, king of Persia. He ascended the throne about B.C. 529, soon after which he successfully inva= ded Egypt= , and established the first Persian dynasty. At his first conquest he testified much respect for the religion and customs of the Egyptians, and caused himself to be initiated into the Isaic mysteries; but afterwards being unsuccessful in battle, and believing that the people hated him, he chang= ed his demeanour towards them, and ridiculing their religion, and especially= the worship of Apis, caused their temples to be rifled and the bull god himse= lf slain. There is no direct reference to this event in the Hieroglyphic tex= ts, except a statement that under Cambyses, or Kambish as he was called, &quo= t;a great calamity afflicted the entire country." A few years after this occurrence the king died B.C. 521. The name of Cambyses is found in the Assyrian texts also, but his more proper place is in the annals of Classic history. (1876c1)

$H Camella.

Camella. An earthenw= are or wooden vessel employed in certain religious ceremonies. It probably served for making libations of milk.(1883m1)

$H Cameo.

Cameo. Gems cut i= n relief are called camei or cameos. Great care was shown by the ancients in choos= ing stones, consisting of several variegated strata. Cameos vary considerably= in size, and as a rule the figures or objects represented stand out in white= on a sombre red ground; sometimes the white and red are reversed. The term cameo is applied generally to al= l gems cut in relief, while those hollowed out or depressed are called intaglios.(1891a1)

Cameo. (Ital. cammeo). A precious stone eng= raved in relief; it is thus opposed to the INTAGLIO (q.v.), which is cut into t= he stone. Cameos are generally carved from stones having several layers. They were employed in the decoration of furniture, vases, clasps, girdles, and= to make bracelets, rings, &c. Cameos were largely made by the Egyptians, Greeks, and Romans; by the two latter generally of sardonyx and onyx. (See INTAGLIO, SHELL CAMEO, &c.)(1883m1)

Cameo (Camei, Ital.) Gems cut in re= lief, the most expensive class of cut stones. The custom of ornamenting goblets, craters, candelabra, and other articles with gems, originated in the East, and was followed at the court of the Seleucidae, the greatest extravagance being practised with regard to such ornaments. When the image on the stone was not to be used as a seal, it was cut in relief, and the variegated on= yx was generally selected. Great attention was paid to the different colours= of the strata of the stone, so that the objects stood out light from a dark ground. Some of the CAMEOS preserved to us are wonders of beauty and technical perfection, showing the high degree of Art to which the Grecian lapidaries had attained under the luxurious successors of Alexander the Great. The finest specimen now existing is the Gonzaga cameo, formerly at Malmaison, now in the imperial collection of gems at St. Petersburgh. Winkelman notices a cameo representing Perseus and Andromeda, in such high relief, that almost all the contour of the figures (in the most delicate white) is detached from the ground; it belonged to the painter Mengs, at whose death it was purchased by the Empress Catherine of Russia, for 3,000 Roman crowns. The only other gem this author is disposed to class in the = same rank is the "Judgment of Paris," in the cabinet of Prince Piomb= ino, at Rome. The most celebrated gem of this art in Englan= d is the famous "Cupid and Psyche," in the Marlborough collection. Among the rem= ains of the ancient art of stone-cutting, the gems out in relief, called, on account of the different layers of stone, CAMEI, are rarer and more valua= ble than those cut in INTAGLIO. The work in precious stones is either depress= ed INTAGLIO, or raised ECTYPA SCULPTURA, in Pliny, came-huia, camayeu, cameo. T= he impression is the main object of the former; the chief aim of the latter = is to adorn. For the former were employed transparent stones of uniform colo= ur, and such as were spotted and clouded, and precious stones; for the latter, variegated stones, such as the on= yxes, cornelians, and similar kinds= of stones, which Oriental and African commerce brought to the ancients, of surprising and now unknown beauty and size. * CAMEOS are not mentioned in the history of Mediaeval Art; t= hey were brought forward again in Italy in recent times. The production of cameos has become an art-manufacture of considerable importance, but is i= mitated rather than rivalled by cutting in shells. **

* Muller, Ancient Art and its Remains.

** See SHELL-CAMEO.(1855f1)

$H Cameo‑glass. (See GLASS.) (1883m1)

$H Camera, more rarely Camara.

Camera, more rarely Camara. The vault or vaulted ceiling of an apartment. Camera vitrea, a vaulted ceiling, the surface of which was li= ned with plates of glass. The term was also used to denote a chariot with an arched cover formed by hoops; an underground passage; a pirate‑vess= el with a decked cabin; and, in short, any chamber having an arched roof, as= for instance the interior of a tomb.(1883m1)

$H Camera Lucida or Camera-Lucida.

Camera Lucida. An optical instrument for reflecting the outlines of objects from a prism, so that they can be trac= ed upon paper by a person unacquainted with the art of drawing.(1883m1)=

Camera Lucida. A prism by means of which the image of any object may be thrown upon a sheet of paper. It was invented by Woollaston in 1804, and has been broug= ht to perfection since. It is of great service to artists and others, as by = its aid natural objects, &c., can be traced with great accuracy. The only= difficulty which it involves lies in the fact that the draughtsman must at the same time watch the image and follow the p= oint of his pencil. ILLUS. cameral= u(1891a1)

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Camera-Lucida. An ingenious instrument invented = by Dr. Woollaston, for the purpose of enabling anyone unacquainted with the = art of drawing to delineate natural objects, &c., with great accuracy. It consists of a glass prism of four irregular sides, mounted on a brass fra= me, supported by telescopic brass tubes, with an eye-piece furnished with a convex lens, through which the paper and the point of the pencil are seen, and the image traced; on account of its simplicity and portability the instrument is valuable. (1855f1)

$H Camera Obscura or Camera-Obscura.

Camera Obscura. A darkened room in which = the coloured reflections of surrounding objects are thrown upon a white ground.(1883m1)

Camera Obscura. An apparatus by means of which a reduced tracing may be made of natur= al objects. There are two kinds of camerae obscurae. The one consists of a h= ut of wood hermetically sealed. In the roof of this hut is an opening across which a mirror is placed to collect the rays of light and throw them on a lens, so that an actual image is thrown upon the white paper in front of = the artist. The outline can then be drawn with a pencil. The other kind of ca= mera obscura is portable and so more convenient. The optical apparatus is plac= ed upon a tripod, round which curtains are drawn, so that the artist is plac= ed in darkness and is able to catch the image thrown upon the white paper in front of him. ILLUS. camerao= b(1891a1)

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Camera-Obscura. An apparatus by which the images= of objects are thrown in their proper forms and colours upon a light surface= . It consists of a darkened room or box furnished with a convex lens, through which the light is admitted; at the proper focus is placed a screen of ground-glass or other material, upon which the external image falls. A ve= ry extended application of this instrument has arisen since the discovery of= the art of PHOTOGRAPHY. (1855f1)

$H Camfuri, Camphio. Mediaeval

Camfuri, Camphio. Me= d. Lat. A decreed duel: from the German "kampf," battle; and the Danish "vug," manslaughter. (M= eyrick.)(1883m1)

$H Camies. Old English

Camies. O.E. A light= thin material, probably of silken texture.(1883m1)

$H Camillus. Etruscan

Camillus. According to a fragment of Callimachus, the Etruscan Mercury. Servius says that youthful priestesses were called Camillae. The attendant minister= of the Flamen Dialis at the sacrifices was named Camillus.(1876c1)

$H Caminus.

Caminus. Literally, a smelting furnace, and then an oven for baking bread; also, a hearth or fireplace. Fig. 126 represents a baker's oven at Pompeii. Fig. 126. Caminus.(1883m1)

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$H Camisado.

Camisado. O.E. A sud= den attack on a small party; a Spanish term.

"To give camisadoes on troupes that are lodged a farre off." (Briefe Discourse of Warre.)(1883m1)

$H Camisia.

Camisia (a Gallic wo= rd, whence prob. Ital. camicia). A light linen tunic worn next the skin (tunica intima).(1883m1)

$H Camlet or Chamlet. = Old English

Camlet or Chamlet. O.E. Originally a tissue of goat's and camel's = hair interwoven. In Elizabeth's reign the name was given to a cloth of mixed wool and silk, first manufactured in Montgomeryshire, on the banks of the river Camlet.(1883m1= )

$H Cammaka.

Cammaka. A cloth of = which church vestments were made, temp<= /i>. Edward III.(1883m1)

$H Camoca.

Camoca. O.E., 14th c= entury. A textile probably of fine camel's hair and silk, and of Asiatic workmans= hip, much used for church vestments, dress, and hangings.(1883m1)

$H Campagus or Compagus. Costume

Campagus or Compagus. A kind of sandal. It was worn especially by the Roman patricians.(1883m1)

$H Campana.

Campana. It. A bell;= hence, CAMPANOLOGY, the science or study of bells.(1883m1)

$H Campanes. Heraldry

Campanes. (Her.) Be= lls suspended any charges. (Sculpt.) This word is also used by the French to denote little bells carved in wood as a motive of ornamentation for bisho= ps' thrones, altar canopies, &c. ILLUS. campanes(1891a1)

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$H Campanile.

Campanile. A belfry.(1883m1)

Campanile. A tower in which bells are placed, built near a church= but not actually attached to it. Campaniles are frequently met with in Italy= and elsewhere. In England they are rare; there is one at Evesham, and formerly there was one at Salisbury. The = term is also applied to an open construction of timber work surmounting a roof, in which as a rule either a bell or a clock is placed. ILLUS. campanil(1891a1)

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Campanile. (Ital.) A tower for bells constructed beside a church, but not attached to it; and sometimes not at all connected therewith. They are most common in the Ita= lian states. There is a massive square example at Venice= in the great square; one at = Pisa, consisting of a round tower, decorated with columns and arcades to the summit, and celebrated for the degree in which it leans from the perpendicular. Others are at Bologna, Padua, Ravenna, &c. There was one formerly attached to Salisbury Cathedral; and there= is another at Evesham, and Elstow, Bedfordshire. (1855f1)

$H Campanulated. Architecture

Campanulated. (Arch.) A= term applied to capitals or ornaments, the profile of which suggests that of an inverted bell. ILLUS. campanu= l(1891a1)

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$H Camp‑ceiling.

Camp‑ceiling. = Where all the sides are equally inclined to meet the horizontal part in the cen= tre (as in an attic).(1883m1)

$H Campestre.

Campestre. R. (from = campester, i.e. pertaining to the Field of Mars). A short kilt worn by gladiators and soldiers when going through violent exercises in public. The kilt fitted close to the body, a= nd reached two‑thirds down the thigh.(1883m1)

$H CAMPESTRE. (Lat.) A short garment fastened a= bout the loins, and extending from thence down the legs, nearly to the knees, after the manner of the kilt.= It was worn by the Roman youths when they exercised in public places, also by soldiers and gladiators for the sake of decency when exercising, and sometimes in hot weather beneath the toga in place of the tunic. * FIGU= RE

* The engr= aving represents a gladiator from a painting discovered at Pompeii. (1855f1)

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$H Camphine.

Camphine. Rectified oil of turpentine. (1855f1)

$H Camphio. [See Camfuri]

$H Campio Regis.

Campio Regis. Engl. = The king's champion, who on the day of the coronation challenges any one who disputes the title to the crown.(1883m1)

$H Campus Martius.

Campus Martius. (i.e= . Field of Mars). At Rome, as in the provinces, this term had the same meaning which it bears in some countries at the present day; i.e. a ground on which soldiers went through their exercises. In ancient times, however, the Field of Mars, or simply = the Field, served also as a place of assembly for the comitia.(1883m1)