$H Canaba. Graeco-= Roman

Canaba. Gr. and R. A= Low Latin name for the slight structures common in country places, such as we should now call sheds or hovels. Those who lived in them were called canabenses. Fig. 127 is from a terra‑cotta vase found near the lake Albano. Fig. 127. Canaba.(1883m1)

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$H Canabus

Canabus (Gr.), Canevas, Cannevas<= /span> (Fr.) The term by which the ancients designated the wooden skeleton covered with clay, or some other = soft substance, for modelling larger figures; hence the French word canevas. Similar skeletons were = used as anatomical studies, by painters and plastic artists. (1855f1)

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

Canaliculus (dimin. of CANALIS= , q.v.). A small channel or groove; or a fluting carved= on the face of a triglyph. (Fig. 128.) Fig. 128. Canaliculus.(1883m1)

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$H Canalis.

Canalis (akin to Sanscrit = root KHAN, to dig). An artificial channel or conduit for water. The term canalis= is also given to the fillet or flat surface lying between the abacus and echinus = of an Ionic capital. It terminates in the eye of the volute, which it follow= s in such a way as to give it the proper contour.(1883m1)

$H Canathron.

Canathron. (Gr. 6V<"2D@<[=3Dkanathron]). A = carriage, of which the upper part was made of basket‑work.(1883m1)=

$H Canberia.

Canberia. Med. Lat. = (Fr. jambières). Armour for the legs.(1883m1)

$H Cancelli.

Cancelli. (from cancer, a lattice). A trellis, i= ron grating, or generally an ornamental barrier separating one place from ano= ther. In some aniphitheatres the PODIUM (q.v.) had = cancelli at the top. In a court of law the judges and clerks were divided from the place = set apart for the public by cancelli (hence "chancel").(1883m1)

$H Candace.

Candace. See Kandake. (1876c1), i.e. A queen of Ethiopia, whose daughter was conquered by the Romans.

Candace. See Cleopatra surnamed Candace, the wife of Soter= , and the mother of the lady Sensaos. (1876c1)=

$H Candela.

Candela. A torch, ma= de of rope, coated with tallow, resin, or pitch. It was carried in funeral processions (hence "candle").(1883m1)

$H Candelabrum (pl. Candelabra).

Candelabrum. A candl= estick, candelabrum, or generally any kind of stand by which a light can be supported. There were many different kinds. The same term is also used to denote the tall pedestal of a portable lamp (Fig. 129). (See CANDLEBEAM.)= Fig. 129. Candelabrum.(1883m1)

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Candelabrum. A candlestick or stand to support a lamp. Candelab= ra generally have several branches. When placed on altars they are very often richly ornamented, but many dating from the Gothic period are perfectly simple. The large candelabra which are placed on the ground and only hold= one candle are often of huge dimensions. Some of modern workmanship are no less than twelve feet in height. They are inf= inite in shape and often designed by the most renowned architects. Sometimes th= ey support a lamp hexagonal or circular in shape surmounting an open‑w= ork crown. Their shaft is frequently decorated with carefully executed sculptures. Finally, there are candelabra still richer in design, consist= ing of bronze or marble statues, which are found in the vestibules of hotels = or palaces or at the foot of staircases. The candelabra in use among the Rom= ans generally consisted of a column of a considerable height, standing upon a tripod, frequently fluted and sometimes decorated with climbing animals, = upon which was placed the tray which held the lamp. Representations of candela= bra are often found as ornaments on friezes. The term is also applied to the column representing a candelabrum, placed on a pier or on a square tower surmounting a cupola. 2 ILLUS. candela1, candela2(1891a1)

&nbs= p; &= nbsp;

Candelabra. Candelabra were objects of great importance in ancient Art; they were originally used as candlesticks, but after oil was introduced they were u= sed to hold lamps, and stood on the ground, being very tall, from four to sev= en or ten feet in height. The simplest candelabra were of wood, others were = very splendid both in material and ornament. The largest candelabra, placed in temples and palaces, were of marble, with ornaments in relief, and were fastened to the ground. There are several specimens in the Museum Clementinum at Rome. These large candelabras were also altars of incense, the carving showing = to what god they were dedicated: they were also given as offerings, and were then made of finer metals, and even of precious stones. Candelabra were a= lso made of baked earth, but they were mostly of elegantly wrought bronze. Th= ey consisted of three parts: - 1. the feet; 2. the shaft; 3. the plinth,= with the tray upon which the lamp was placed. The base generally consisted of three animals' feet, ornamented with leaves. The shaft was fluted; and on= the plinth often stood a figure holding the top, generally in the shape of a vase, on which rests the tray. *= * The branching candelabra are valuable as works of Art, for not unfrequently the shaft is formed by a statue, beari= ng a torch-like lamp, or each arm holding a plate for a lamp. Another kind of candelabrum was called lampadarii: these were= in the form of pillars, with arms or branches from which the lamps hung by chains. In the Museo Etr= usco Gregoriano at Rome, are forty-three candelabra of various forms, which were excavated at Cervetri. Some have smooth, and some have fluted sh= afts, on which is represented a climbing animal, a serpent, lizard, weasel, or a cat following a cock. Sometimes these shafts bear a cup, or branch into m= any arms, between which stand beautiful little figures, or they have plates rising perpendicularly above one another. They generally rest on feet of lions, men, or stags, or they are supported by figures of satyrs, &c. Some candelabra are in the form of a human figure, bearing the plate in t= he outstretched hand, and sometimes the pillar is supported by caryatides. <= /span>FIGURE (1855f1)

** Museo Borbonico, pl. iv. to vii. (1855f1)

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

Candellieri. It. A s= tyle of grotesque ornamentation, characteristic of the Urbin= o majolica ware.(1883m1)

$H Candlebeam. Old English

Candlebeam. O.E. A chandelier of the Middle Ages with "bellys of laton" (or brass cups) s= lung by a pulley from the ceiling.(1883m1)

$H Candles.

Candles. The A.S. po= ets called the sun "rodotes candel," the candle of the firmament, "woruld candel," "heofon candel," &c. Originally, no doubt, the can= dle was a mere mass of fat plastered round a wick (cande= l‑weoc) and stuck upon a "candel‑sticca,&q= uot; or upright stick; when the candle‑stick had several branches, it was called a candle‑tree. T= here were iron, bone, silvergilt, and ornamented candlesticks. Through the Middle Ages candles were stuck on a spike, not = in a socket, and a chandelier of the 16th century shows the same arrangement.(1883m1)

$H Candys. Costume

Candys (6V<*LH[=3Dkandus]). A Per= sian cloak of woollen cloth, generally purple in colour. Fig. 130. Persian Candys.(1883m1)

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Candys (Gr.) A kind of gown, of woollen cloth, with wide sleeves, wor= n by the Medes and Persians as an outside garment; it was usually of purple or similar brilliant colouring; * and sometimes decorated with flowers, and = is still retained in the loose gown generally worn by the Eastern nations. <= /span>FIGURE

* The cut is copied from a Persepolitan bas-relief in Sir R. K. Porter's Travels.(1855f1)

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$H Canephoria. Greece

Canephoria. Greek fe= stivals of Diana; or an incident of a= nother feast, called pratelia, in which virgins about to marry presented baskets (canea) to Minerva. The na= me, CANEPHORUS, or "basket‑bearer," was common to the virgins= who attended processions of Ceres, Minerva, and Bacchus, with the consecrated cakes, incense, and other sacrificial accessories, in the flat baskets ca= lled canea.(1883m1)

$H Canephoroi. Egypt

Canephoroi. "Basket Bearers." An Egyptian sacerdotal office generally held by women, whose duty it was to carry in baskets upon their heads the fruit and food of the sacred animals to whose worship they were devoted. The same office was also known in Greek mythol= ogy, and it lingered on till the IIIrd and IVth centuries of the Christian era= . (1876c1)

$H Canephorus.

Canephorus. The basket‑bearer; a name give= n to the Athenian maidens who walked in the processions of Demeter and Athena, carrying upon their heads flat baskets containing the sacred cake, &c. They are represented in the Parthenon frieze. In architecture the term denotes a decorative statue holding a vase or basket, sometimes employed = as a caryatid (q.v.). Those of the Villa Albani at= Rome are celebr= ated. ILLUS. canephor(1891a1)

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Canephorus. (Gr.) The bearer of the round bas= ket, containing the implements of sacrifice (the sacred cakes, chaplet of flow= ers, knife for sacrifice, and incense), in the processions of the Dionysia, Panathenea, a= nd other Grecian festivals, and which was a coveted office of honour with the virg= ins of antiquity, to whom the service was consecrated, and no man allowed to officiate; for when they sacrificed, their daughters or other unmarried females of their family, appeared in that capacity. The attitude in which they appear in works of Art, is a favourite one with the ancient artists; the figure elevates one arm to support the basket carried on the head, and with the other slightly raises her tunic. FIGU= RE (1855f1)

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$H Canette.

Canette. A conicR= 09;shaped German drinking‑mug, resembling the modern "schoppen," of which highly ornamented examples in white stone‑ware have been produced by the potters of Cologne and o= ther parts of Germany. (Fig. 131.) Fig. 131. Canette of white = stone‑ware, 1574.(1883m1)

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Canette. (Fr.) A small can or drinking jug, they were frequently made of fine clay, and embossed with emblematic and ornamental designs. (1855f1)<= /o:p>

$H Caneum. [See Canistrum, Canister]

$H Canevas. <= span style=3D'mso-spacerun:yes'> [See Canabus]

$H Caniple. Old English

Caniple. O.E. A smal= l knife or dagger.(1883m1)

$H Canis.

Canis (akin to Sanscrit = CVAN, Gr. = 6bT<[=3Dkuon]). A clog.= This term has numerous diminutives: catulus, catellus, canicula. However ancient any civilization, the dog is always met with as the companion of = man, and in each nation it follows a particular type. Thus a distinct differen= ce is perceptible in the dogs the Etruscans, Greeks, Romans, Egyptians, Indi= ans, and Gauls. The Egyptians had terriers and greyhounds, wolf‑dogs, and others for hunting or watchdogs. All the= se breeds are met with on the bas‑reliefs of Egyptian monuments. The Egyptian name for a dog, wou, wouwou, is evidently onomatopoiet= ic or imitative. (See also DOG.)(1883m1)

$H Canistrum, Canister.=

Canistrum, Canister, or Caneum. (= 6V<4FJD@<[=3Dkanistron], fro= m 6V<0[=3Dkane], a reed).= A wide shallow basket for carrying the instruments of sacrifice and offerings for the gods. It was generally carried on the head by young girls, who were called Canep= horae (= 6"<0N`D"4[=3Dkanephorai], i.= e. basket‑bearers), q.v.(1883m1)

$H Cannets. Heraldry

(Her.) Ducks without feet or beaks, generally depicted in profile. ILLUS. cannets(1891a1)

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$H Cannevas [See Canabus]

$H Canon.

This word signifies an artistic rule or law based upon observation. It was applied in ancient times to statues or monuments, which were intended to serve as types or embodiments of the principles of art, and also to fix the length of the finger, the height of the face, from which might be determined the exact proportions of the whole figure. The most celebrated canon in ancient times was that of Polyc= leitus, which he exemplified in his statue of the Doryphorus= . This was in turn superseded by the canon of Lysippus.(1891a1)

Canon (6"<ã<[=3Dkanon], from 6V<0[=3Dkane], i.e. any= thing straight like a reed). A fixed rule or standard which is supposed to have served, in antiquity, as a basis or model in forming statues, the various members of which bore a definite proportion one to the other. The Greeks = had some such canon. The <= span style=3D'font-family:"WP Greek Courier";mso-ascii-font-family:"Times New = Roman"; mso-hansi-font-family:"Times New Roman";mso-char-type:symbol;mso-symbol-f= ont-family: "WP Greek Courier";mso-no-proof:no'>*@DLN`D@H[=3Ddoruphoros] (sp= earman) of Polycletus was, it is said, looked upon as affording a standard for the proportions of the human body. The Egyptians= are also supposed to have had a canon, in which the middle finger formed the = unit of measurement.(1883m1)

Canon. A rule in Art based on sure principles. (= 1855f1)

$H Canope, Canopea, <= span class=3DSpellE>Canopic Vases, Canopic Ja= rs. Egypt

Canopics, Can= opic jars: four containers in which the viscera of the mummy were buried.(1= 894e1)

Canope. A name given to Egyptian vases which contained t= he viscera of the dead. As inscriptions they bear various formulae of benediction. On their lid a human skull is sometimes placed, sometimes the symbolic head of a cynocephalus, a hawk, or a jackal. ILLUS. cano= pe(1891a1)

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Canopea or Canopic Vases. An Egyptian vase, made of clay, and so named from its being manufactured at = Canopus, a town of Lower Egypt, the present Aboukir. The same name was given to funereal urns made in the shape of the god Canopus, who is described by Russin as pedibus exiguis, attracto collo, ventre tumido in modum= hydriae, cum dorso aequaliter tereti (i.e. having small feet, a short neck, a= belly as round and swelling as a water‑jar, and a back to match). Canopean vases were made of earthenware, alabaster,= and limestone. They were placed at the four corners of tombs or sarcophagi containing mummies. In them were deposited the viscera of the dead, which were placed under the protection of the four genii, symbolized each by the head of some animal which served at the same time for the lid of the canopea.(1883m1)

Canopic Jars. The four jars in which were placed= the embalmed viscera of the deceased. The name is said to have been adopted, = because of the resemblance the jars bore to a form of Canopus worshipped in the place of th= at name. The cover of each jar was in the form of a head, the heads being th= ose of the four genii - children either of Horus or Osiris according to diffe= rent texts - who represented the cardinal points, and to whom the jars were dedicated. The jar covered by the man-head of Mestha or Amset, representi= ng the south, contained the stomach and large intestines. That covered by the dog-head of Hapi representing the north, contained the small intestines. = The jackal head of Tuamautef, who represented the east, covered the jar containing the lungs and heart, while the hawk-head of Qebhsennuf, god of= the west, covered the liver aud gall bladder. These jars do not appear until = the XVIIIth Dynasty, and after the XXVIth Dynasty they gradually fell into disuse. In= the earlier period they were made of alabaster or some fine kind of stone; la= ter on of green and blue glazed faïence, also of wood, and still later of terra-cotta. Occasionally solid wooden jars are found. An inscription - incised on stone ones and painted on wooden ones - was usually placed on each, and from these inscriptions we learn that Mestha was under the protection of Isis, Hapi under that of Nephthys, Tuamautef was guarded by Neith, and Qebhsennuf by Selk. The four jars were very frequently placed in a sepulchral chest. Jars of the same shape, containing mummied bodies of various sacred animals, have been fou= nd at several places. (Bri= tish Museum: 2nd Egypt= ian Gallery; wall case.) ILLUS. The four genii.<= span lang=3DEN-GB style=3D'mso-bidi-font-size:12.0pt;mso-ansi-language:EN-GB'>= (1902b1)

Canopic Vases. These vases made of alabaster, calcar= eous stone, porcelain, terracotta, and even wood, were destined to hold the so= ft parts or viscera of the body, embalmed separately and deposited in them. = They were four in number, and were made in shape of the four genii of the Karn= eter or Hades, to whom were assigned the four cardinal points of the compass. = The body of the vase was that of the genius, and the head mortised into it was the cover. The names and order of these genii were Amset, human-headed, t= he first genius, and the body of his vase held the stomach and large intesti= nes. Hapi, the second, cynocephalus ape, held the small intestines; Tuautmutf,= the third, jackal-headed, held the lungs and heart; and Kabhsenuf, the fourth, the liver and gall bladder. They were separately embalmed, were made into oval packets and placed in the vases. These vases were either plain, with= the name of the genius which they represent, or with a particular formula, en= ding with the name of the deceased. The formula: were speeches respectively ma= de by Isis, Nephthys, Neith, and Selk on behalf of the deceased. The vases w= ere placed in boxes with partitions, then set on sledges and drawn to the sepulchre with the other funereal apparatus. In the vignettes of the Ritu= al, chapter LXXXIX, and in the paintings of the coffins, they are represented placed under the bier on which the mummy is laid. They are found in the t= ombs in different positions, sometimes at the corners or angles of the coffins= , in niches in the walls of the sepulchral chamber, or in the boxes with partitions in which they were taken to the sepulchre. Only the richer per= sons had these special receptacles, the viscera being often made into separate packets disposed close to the mummy, and covered with the bandages. Many = fine examples of these vases in arragonite or oriental alabaster and calcareous stone are exhibited on the upper shelves of the walls of the North and So= uth Egyptian Galleries of the British Museum. (Birch.) = (1876c1)

Canopic Vases, were vases used by the Egyptian priests to contain the viscera of an embalmed body. They comprised a seri= es of four in number, and had the head of one of the four deities of the Ame= nti placed on the lid of each. One bore the human head of Amset, to whose care the stomach and larger intestines were dedicated. A second, that of Hapi, with the head of an ape, who was guardian of the smaller intestines. A th= ird had the head of Smautf, under the shape of a jackal, who took charge of t= he lungs and heart; and the fourth had the head of Khebhsnouf, shaped like t= hat of a hawk, to whom the liver and gall bladder was consecrated. (1855f1)

$H Canopium.

Conopeum, Canopium. = Gr. and R. (from = 6f<TR[=3Dkonops], a gnat= ). A musquito‑net, of very light material, introdu= ced into Rome from Egypt. [This is the origin = of the English word canopy.](1883m1)=

$H Canopus. Egypt

Canopus= . A Greco-Egyptian deity in the f= orm of a human-headed vase, really that of the funereal god Amset, one of the fo= ur infernal deities who had charge of the viscera of the dead. (1876c1)

Canopus. "Conops or Canopy." The Greek name of the Hermopolite city and n= ome in Lower Egypt, called by the Egyptian= s Ati. (1876c1)

$H Canopus. Decree of. = Egypt

This stèle was discovered in the excavations at the ruins of San in 1866. It contain= s a long triliteral text in Greek, Hieroglyphic, = and Demotic, analogous in character to that on the Rosetta Stone, the system = of interpretation of the Egyptian language derived from which it amply confi= rms. The decree itself is dated in the ninth year of Ptolemy III. and Euergetes I., and it describes the honours which were to be rendered to the king, the queen, and an infant princess = whom they had lost; its most important subject is practically the announcement= of a rectification of the calendar by the introduction of five additional da= ys, which were to be festivals of the gods Euergetes, to complete the solar year. This change was to take place at the rising of the star Sothis, on the 1st of the month Payni, i.e.= 18th July, and it thus introduced a leap year into Egyptian astronomy B.C. 238, or more than two centuries prior to the official introduction of the leap year into Alexandrian chronology by the Emperor Augustus, B.C. 25. (Sharpe.) (1876c1)

$H Canopy. [For Egyptian city see Canopus]

A system of decoration belonging to the Gothic period. It consists of a vaulting placed above statues fixed against a wall, or above niches made to receive a statue. Canopies of the 12th and 13th centuries suggest on a small scale the features of buildings of the period. In the = 13th century they are surmounted by disengaged arcades, flanked with pinnacles, bell‑turrets, and flying buttresses. In the 14th and 15th centuries canopies become still more ornate. In certain instances equestrian statues are crowned with canopies formed of two pointed arcades spreading out ove= r a considerable area. Finally in the 16th century canopies, still ornate, frequently have the form of lanterns surrounded by volutes and scrolls, a= nd arranged in stages receding as they mount, the whole often terminating in= a graceful statuette. Canopies formed of drapery were often employed to decorate the top of the seats of distinguished people. In the same way the word canopy is applied to the covering formed of plumes and embroidered stuffs, which was often carried over the heads of kings and important personages. In modern Europe such cano= pies are only used in Roman Catholic processions. 3 ILLUS. canopy1, canopy2, canopy3(1891a1)

&nbs= p; &= nbsp; &nbs= p; &= nbsp; <= /o:p>

Canopy. A covering of velvet, silk, or cloth of gold, extended on a frame, and ri= chly embroidered with suitable devices, supported and carried by four or more staves of wood or silver, borne in processions over the heads of distinguished personages, or over the hearse at the funerals of noble persons. In the religious processions of the Catholic Church it is borne = over the host and sacred reliques. According to Ro= man use they are white, but in the French and Flemish churches they are gener= ally red. In England, the two colours seem to have been used indiscriminately. ** In architecture, the term implies the ornament over tombs = and altars whether projecting from walls or not.

** See Pugi= n's Glossary of Ecclesiastical Ornament = and Costume. Shaw's Decorations o= f the Middle Ages, &c. (1855f1)

$H Cant.

Cant. Arch. (1) To t= runcate. (2) To turn anything over on its angle.(1883m1)

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

Cantabrarii. Med. La= t. Standard‑bearers: from CANTABRUM, a kind of standard used by the Ro= man emperors. (Consult Meyrick.)(1883m1)

$H Cantaliver. [See Cantilever]

$H Canted. Architecture

Canted. (Arch.) A= term used by carpenters to denote that the angles of a square have been cut of= f. Thus an oriel is said to be a canted window.(1891a1)

$H Canted Column. Architecture

Canted Column. Arch.= A column polygonal in section.(1883m1)

$H Cantellus. Mediaeval

Cantellus. Med. Lat.= (Fr. chanteau an= d cantel; Lat. quantil= lus).

(1) A cut with a wea= pon, or the portion cut away.

(2) Heraldic for the= fourth part of a shield, since called a canton.

(3). The hind part o= f a saddle.(1883m1)

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

Canteriolus (dimin. of canterius, a prop). A painter's easel. The term, which is of doubtful Latinity, corresponds to the Greek Ï6D\$"H[=3Dokribas].(1883m= 1)

$H Canterius.

R. This term has num= erous meanings; it serves to denote a gelding, a prop, the rafters forming part= of the woodwork of a roof, and a surgical contrivance, of which the form is unknown, but which was used for suspending horses whose legs chanced to be broken, in such a way as to allow the bone to set.(1883m1)

$H Cantharus.

A Greek two‑handled vase or cup, sacred to Bacchus, varying in shape and size. On Greek vases Bacchus is frequently represented as holding it in his hand. = ILLUS. cant= haru(1891a1)

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Cantharus (6V<2"D@H[=3Dkantharos], a k= ind of beetle). A two‑handled vase or drinking‑cup, of Greek inventi= on. It was particularly consecrated to Bacchus, and accordingly, in representations of the festivals of that god, it figures constantly in the hands of satyrs and other personages. (Fig. 132.) Fig. 132. Cantharus (Greek).(1883m1)

<= /o:p>

Cantharus. (Gr.) A kind of drinking-cup with handles, sacred to Bacchus, who is frequently depicted on antique vases, &c., holding it in his hand. FIGURE (1855f1)<= o:p>

<= /o:p>

$H Cantherius. (See CANTERIUS.) (1883m1)

$H Canthus.

Canthus (6"<2ÎH[=3Dkanthos], the f= elloe of a wheel). A hoop of iron or bronze forming the tire of a wheel. The Greeks called this tire ¦B\FTJD@<[=3Depisotron] (i.e= . that which is fastened to the felloe).(1883m1)

$H Canticum.

Canticum. An interlu= de of music in a Roman play.(1883m1)

$H Cantilever. Architecture

Cantilever. (Arch.) A projecting bracket employed to sup= port balconies, cornices. &c.(1891a1)

Cantilevers or Cantalivers. Arch. Blocks framed into a wall under the eaves, projecting so as to carry a moulding. (See MODILLION.)(1883m1)

$H Canting Arms. Heraldry

Canting Arms. (Her.) Armorial devices which fall under the definition of a rebus (q.v.). They abound in early heraldry.(1891a1)

$H Cant‑moulding.= Architecture

Cant‑moulding. Arch. Any moulding with a beve= lled face.(1883m1)

$H Canton. Heraldry

Canton<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB'>. (Her.) May be regarded= as a diminutive of the quarter (q.v.), and is one of the honourable ordinaries= . It is placed in a corner of the shield, usually the dexter chief, and occupie= s a third of the chief, or a ninth of the shield. If placed on the other side= of the shield it is called a canton sinister. ILLUS. canton<= /span>(1891a1)

<= /o:p>

$H Cantoned. Heraldry

Cantoned. A cross or saltire is said to be cantoned when it is placed between four charges, or groups of charges. The term is also employed to denote a single charge in the first quarter of the shield.(1891a1)

$H Canum.

Canum. A Greek baske= t, more generally called CANISTRUM (q.v.).(1883m1)

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

Canvas prepared for = painting is kept stretched upon frames of various sizes: e.g. kit‑cat, 28 or 29 inches by 36; three‑quarters, 25 by 30; half‑length, 40 by 50; bishop's half‑length, 44 or 45 by 56; bishop's whole‑length, 58 by 94.(1883m1)

(Paint.) A material upon which pictures in oil‑col= our are painted. The canvas is placed on a stretcher (q.v.), from which it ma= y be removed if necessary. In the language of critics and historians of art a canvas means a picture. Thus we speak of a canvas of Raphael. Special nam= es are given to canvases of special dimensions, such as kit‑cat (q.v.), and bishops' length (q.v.).(1891a1)

Canvas. One of the materials, and the principal = one, upon which oil paintings are made. Two kinds are prepared for artists' us= e; the best is called ticking. I= t is primed with a ground of a neutra= l grey colour, or with other colours, according to the fancy of the painter. Cer= tain sizes being in greater request than others, they are kept stretched on fr= ames ready for use; for portraits, these are known by the names of kit-cat, which measures 28 or 29 inches by 36 inches; three-quarte= rs, measures 25 by 30; half-length, 40 by 50; Bishops' half-length, = 44 or 45 by 56; Bishops' whole-length, 58 by 94. (1855f1)

$H Caoutchouc.

Caoutchouc. The native name = of India-rubber. See that word. (1855f1)