$H Chance. Old English
|
Chance. O.E. The gam=
e of
hazard.(1883m1) |
$H Chancel.
|
Chancel. Chr. (from cancelli, a
lattice). A term anciently used to denote the choir. It derived its name from the cancelli or stone screen =
by
which it was enclosed.(1883m1) |
|
Chancel. (Arch.) The chancel in a catholic church is that =
part
of the choir near the altar where the deacons or sub=
deacons
stand to assist the officiating priest. It is generally shut off by a
rail.(1891a1) |
|
Chancel. That part of the church at the east end
where the altar is placed, and which in Catholic countries is sacred to t=
he
clergy who officiate, being railed off originally by cancelli or
lattice-work, from which the name is derived. (1855f1) |
$H Chandaras.
|
Chandaras. (Sanscrit, chanda‑rasa, lit. moon̴=
9;juice).
An ancient name for copal.(1883m1) |
$H Chandeleuse.<= span style=3D'mso-spacerun:yes'>
|
Chandeleuse. Fr. |
$H Chandi.
|
Chandi (from chand, =
the
moon), Indian name for silver.(1883m1) |
$H Chandragupta.= Hindu
|
Chandragupta. A great Hindu mo=
narch,
the grandfather of Asoka, by whom Buddhism wa=
s made
the state religion. He was the Sandracottus o=
f the
Greeks. See Asoka.
(1876c1) |
$H Chand‑tara.
|
Chand‑tara (li=
t. moon
and stars) is the name of an Indian brocade, figured all over with
representations of the heavenly bodies.(1883m1) |
$H Changeable Silk. Old English
|
Changeable Silk. O.E=
., was
woven of two colours, so that one of them sho=
wed
itself unmixed and quite distinct on one side, and the second appeared
equally clear on the other; mentioned A.D. 1327, 1543, &c.(1883m1) |
$H Changes. Music
|
Changes. The altered
melodies produced by varying the sounds of a peal of bells.(1883m1) |
$H
Channel.=
Architecture
|
Channel. (Arch.) T=
he groove
in copings or volutes, and, generally speaking, any surface obtained by
cutting out the body of the moulding. Some channels deeply hollowed out a=
re
bordered by a projecting fillet. ILLUS. channel(1891a1)
|
![](3D"chan_files/image027.gif")
$H Chante‑pleure.=
|
Chante‑pleure. Fr. A
water‑pot, made of earthenware, about a =
foot
high, the orifice at the top the size of a pea, and the bottom full of sm=
all
holes. Immersed in water, it quickly fills. If the opening at the top be =
then
closed with the thumb, the vessel may be carried, and the water distribut=
ed
as required. The widow of Louis I., Duke of Orleans, adopted this as her
device, after the murder of her husband, in 1407. Fig. 152. Chante‑pleure.(1883m1)
|
![](3D"chan_files/image028.gif")
$H Chantlate. Architecture
|
Chantlate. Arch. A p=
iece of
wood under the eaves of a roof, by which two or three rows of overhanging
slates or tiles are supported.(1883m1) |
$H Chantry.
|
Chantry, Chr.
(Fr. chanter, to sing). A cha=
pel to
which is attached a revenue as provision for a priest, whose duty it is t=
o sing
masses for the repose of the founder's soul.(1883m1) |
|
Chantry Chapel. A small chapel=
built
over the grave of one who had left a chantry =
or
endowment for the chanting of masses for his soul. The practice of
bequeathing money for the building of a chantry
chapel was frequent before the Reformation, and many of these chantries are to be seen in our abbey churches. The=
re are
several at St. Albans.(1891a1) |
|
Chantry. A small chapel or altar, endowed for the
maintenance of a priest, to say masses for the soul of the founder. (1855=
f1) |
$H Chape.
|
O.E. (Spanish chapa, =
a thin
plate of metal). (1) The transverse g=
uard of
a sword. (2) A metal plate at=
the end
of a scabbard. (3) A catch by which=
a thing
is held in its place.(1883m1) |
|
A tip or case of metal fixed on the scabbard of a sword =
or
dagger to strengthen it. In the 13th and 14th centuries chapes were quite plain, but those which belong to the 16th century=
are
often elaborately decorated.(1891a1) |
|
Chape. The cross-bar at the junction of the blade
and handle of a sword or dagger. (1855f1) |
$H Chapeau.
|
Chapeau. Her. Also c=
alled a cap of dignity, of maintenance, or of
estate. An early symbol of high dignity.(1883m1) |
$H Chapeau Chinois.
|
Chapeau Chinois. Fr.=
A set
of small bells arranged in the form of a Chinese hat Fig. 153. Chapeau.(1883m1)
|
![](3D"chan_files/image029.jpg")
$H
Chapel.<=
span
style=3D'mso-spacerun:yes'>
|
Chapel. (Arch.) A
religious building of small size, either isolated or annexed to, and so
forming part of, a church. When, however, they belong to palaces, mansion=
s,
colleges, &c., buildings of whatever size are termed chapels. These
chapels are of course often of large dimensions and exquisite architectur=
e.
Such is the Sistine Chapel belonging to the |
|
Chapel. A smaller kind of church, its plan being
square, and never cruciform. In connection with palaces and mansions, such
buildings, however large and imposing, are termed chapels. It sometimes t=
ook
the form of an apsidal excrescence from the aisles of a church, or was ra=
iled
off from the body of the building internally, and had its own altar, &=
;c.,
being dedicated to a particular saint. (1855f1) |
--- $H Chapel
of the Dead.
|
(Arch.) A chapel built in the Middle Ages in the midst o=
f a
burying place or cemetery. It was frequently nothing but a simple canopy =
of
stone supported by columns and sheltering an altar.(1891a1) |
--- $H Chapel,
Sepulchral.
|
(Arch.) A chapel annexed to a church or subterranean cry=
pt
(q.v.) in which the dead were buried.(1891a1) |
$H Chapel, Chapelle‑de‑fer,
or Chapell de Fer.
|
Chape=
l or
Chapelle de Fer. Iron helmet of kn=
ights
of the 12th century. The diminutive is chapeline.(1883m1) |
|
Chapelle‑de‑fer. An iron hat used by knights in the =
Middle
Ages as a protection for the head. Its peculiarity was its brim, which,
though narrow in the 13th century, grew gradually broader. The crown was =
at first
flat, then it followed the shape of the head, =
and
finally assumed a conical form. When the bascinet
(q.v.) was introduced, knights abandoned the chapelle‑de‑fer. ILLUS. chapelle=
(1891a1)
|
|
Chapelle-de-fer. (Fr.) The iron flat-topped helmet=
worn
by knights in the twelfth century, and frequently depicted on their
monumental effigies; it was the rudest form of helmet, and went out of us=
e in
the following century. * FIGURE * Our cut represents
the chapelle-de-fer on an effigy of the twelf=
th
century, in the
|
![](3D"chan_files/image030.gif")
![](3D"chan_files/image031.gif")
$H
Chaperon.
|
Chaperon.
Fr. A hood or small cap for the
head.(1883m1) |
|
Chaperon. (Her.) A =
French
heraldic term signifying a hood,
such as knights used to wear under their helmets. In
|
|
Chaperon. (Fr.)
A hood for the head, or a small cap. (1855f1) |
![](3D"chan_files/image032.gif")
$H Chapiter.
|
Chapiter. Arch. The =
upper
part of a capital.(1883m1) |
|
Chapiter. (Arch.) An old term for the capital of a
column.(1891a1) |
$H
Chaplet.=
|
Chaplet. (Arch.) A
moulding decorated with pearls or small rosettes threaded together. ILLUS. chaplet(1891a1)
|
|
Chaplet. Arch. (Fr. chapelet). (1) A small cylindri=
cal moulding, carved into beads and the like. (See Fig.=
154.)
(2) Chaplets of flowers, which were worn in (3) Chr.
It was anciently the custom to crown the newly baptized with a chaplet or
garland of flowers. (4) Chr.
A succession of prayers recited in a certain order, regulated by beads,
&c. (5) In Heraldry. A g=
arland
or wreath. (See CRANCELIN.) Fig. 154. Chaplet Moulding.(1883m1)
|
|
Chaplet. A garland of flowers for the head; a
funeral garland; a sculptured foliated ornament carried round a pillar,
&c., in architecture. (1855f1)=
|
![](3D"chan_files/image033.gif")
![](3D"chan_files/image034.gif")
$H Chapter.
|
Chapter. Chr. (Lat. capitulum). The
body of the clergy of a cathedral, united under the bishop.(1883m1) |
$H
Chapter‑house.
|
Chapter‑house.
The
meeting place of the canons of a cathedral church.(1891a1) |
|
Chapter‑house.
Chr. A place of assemblage for a CHAPTER of the cl=
ergy.
That of |
$H Chaptrel. Architecture
|
Chaptrel. Arch. The =
capital
of a column supporting an arch; an impost.(1883m1) |
$H
Character.
|
Character.
By
this word we denote both the originality of a work of art and its general
effect. When we say that a landscape has character
we mean that it has fine outlines. A work of art lacks character when it is trivial or
commonplace and fails to impress the spectator.(1891a1) |
|
Character.
Gr. and R. Generally, any sign or =
mark
impressed, painted, or engraved on any object. In a more restricted sense=
, it
denotes the instrument of iron or bronze with which such marks were made.=
In
Art, the expression means a faithful adherence to the peculiarities of
objects represented.(1883m1) |
|
Character. Any peculiarity of expression, featur=
e,
or style, which is indicative of any person or thing represented in the A=
rts,
and which stamps the work either with individuality or truth. That which
distinguishes each species of being in each genus, and each individual of
each species. In man, character consists of the form of the body, stature,
and gait, which distinguish him from other animals. In mankind, the natur=
al
or accidental peculiarities resulting from sex, temperament, age, climate,
the exercise of the passions, the position of the individual in the social
scale, and his mode of living. These peculiarities and differences are, a=
fter
the study of the human figure in general, the most important subjects of =
the
thought of the painter and sculptor, since upon these peculiarities and
differences depend all the significance of their compositions. Each genus,
each family of animals, has also its general and particular character. So
also in the inanimate productions of nature - trees, rocks, fields, and
meadows, which vary in reality as well as in appearance, according to the
climate, season, time of day, accidental condition of the sky, and also
according to the modifications they receive at the hands of man, the effe=
ct
of time, or by the result of natural accidents. If all these things, obse=
rved
with sagacity and selected with taste, are faithfully represented in a
picture, we say that the animals, the trees, the rocks of the picture hav=
e good
character. (1855f1) |
$H Characteristic.
|
Characteristic.
In Art, the term is used to d=
enote
the particular style or manner of a master. (1855f1) |
$H Charbokull. Old English
|
Charbokull. O.E. A
carbuncle.(1883m1) |
$H Charcoal.
|
Charcoal is prepared by burning wood in close
vessels, or after burying the substance in sand in a covered crucible,
exposing it to great heat in a furnace. The woods best adapted for making
CRAYONS, which are preparations of charcoals of different kinds, are box =
and
willow; the former produces a dense hard crayon, the latter a soft and
friable one. (1855f1) |
--- $H Charcoal Bl=
acks
|
Charcoal (Blacks). Charcoal either manufactured into crayons or in its
rough state is used for drawing purposes. It is prepared by burning wood,
especially box and willow, in a close furnace. The term is also applied to
drawings executed in this medium. Thus we speak of a charcoal
drawing.(1891a1) |
|
Charcoal Blacks are =
made of
ivory, bones, vine‑twigs, smoke of resin, &c., burned in a cruc=
ible
excluded from the air. The best charcoal crayons
are made of box and willow; the former produces a dense hard crayon, the
latter a soft friable one. (Fairholt.) (See BLUE BLACK.)(1883m1) |
|
Charcoal Blacks are of both animal and vegetable
origin; consisting of burnt ivory, bones, vine-twigs, peach-stones, nut a=
nd
almond-shells, the condensed smoke of resin, &c. The blacks from
vegetable substances are usually of a blue tint when mixed with white. (1=
855f1) |
$H Chare Thursday. Old English
|
Chare Thursday. O.E.=
Maundy
Thursday.(1883m1) |
$H Charge.
|
Charge. Her. Any her=
aldic
figure or device.(1883m1) |
|
Charge. (Her.) Any h=
eraldic
figure represented in a coat of arms. [Ordinary.](1891a1) |
|
Charge. A French term
applied to a composition, or more often a port=
rait,
in which individual peculiarities are accentuated so as to become grotesq=
ue.
The charges of Callot
are celebrated. [Caricature].(1891a1) |
$H Charged.=
|
Charged. (Her.)
A shield carrying some figure is said to be charged, and in the same way a figure may be charged by superposing some other figure upon it.(1891a1) |
|
Charged. Generally used in the same sense as
over-charged when applied to any work of Art. Thus any charged outline is an exaggerated one; but "painted with=
a charged brush" only alludes=
to
that full style termed by the Italians inipasto.
(1855f1) |
$H Chariot. [See also Car]
|
Chariot. An ancient carriage mounted on two wheels and e=
ntered
from behind. The chariot, in the allegorical art of today, has a triumphal
signification.(1891a1) |
$H Charisia.
|
Charisia Gr. (OVD4J,H[=3DCharites], the =
Graces).
Nocturnal festivals held in honour of the Gra=
ces,
at which cakes and honey were distributed to those present.(1883m1) |
$H Charisteria.<= span style=3D'mso-spacerun:yes'>
|
Charisteria Gr. (PVD4H[=3Dcharis], gratit=
ude).
Festivals celebrated yearly at |
$H Charistia. (See CARISTIA.)=
(1883m1)
$H Charistion.
|
Charistion. An instr=
ument of
Archimedes for weighing. Whether it bore most resemblance to the balance =
(libra),=
or the
steelyard (s=
tatera),
is uncertain, as its form is entirely unknown.(1883m1) |
$H Charities. [See Graces.] (1891a1)
$H Charles's Wain.
|
Charles's Wain. (Ang=
lo‑Saxon,
carles‑=
;waen,
the churl's waggon). The seven stars forming =
the
constellation generally called the Great Bear.(1883m1) |
$H Charm. [See Amulet.] (1891a1)
$H Charnel. Old English
|
Charnel. O.E. Apex o=
f the
basinet.(1883m1) |
$H Charnel‑house.
|
Charnel‑house.
A small building attached to a cem=
etery,
for a receptacle for the human bones disinterred when fresh graves were
dug.(1883m1) |
|
Charnel‑house. (Arch.)
A gallery or covered place annexed to a cemetery, where the bones of the =
dead
were placed in the Middle Ages.(1891a1) |
$H Charon.
|
Charon. In Greek mythology the ferryman appointed by th=
e gods
to take the souls of the dep=
arted
across the river |
$H Charta.
|
Charta. Gr. and R. W=
riting‑paper
in use among the ancients. There were eight different kinds, which were
classed as follows in the order of their quality: (1) Charta Augustana or Claudiana; (2) Liviana; (3) hieratica; (4) amphitheatrica; (5) Saitica; (6) leneotica; (7) fanniana; (8) dentata<=
/span>. The last was so call=
ed from
being polished by means of the tooth (dens)
of some animal, or a piece of ivory. There was also a charta emporetica or packing‑pape=
r, and
lastly a cha=
rta bibula<=
/i>. It
is uncertain whether this last was blotting‑paper, or a kind of
transparent paper which had been steeped in oil or some other fatty
substance.(1883m1) |
$H Charter‑house or Charter‑room.
|
Charter‑room or Charter‑house. A place in which the charters of a particular f=
amily
or house were preserved.(1883m1) |
|
Charter‑house.
(Arch.) A special building or hall where charters, titles, and other
manuscripts of historic interest and great value are kept.(1891a1) |
$H Chartophylax.=
|
Chartophylax. Chr. A man who had char=
ge of
the charters of a church.(1883m1) |
$H Chartummin. Egypt
|
Chartummin. The name by whic=
h the
Egyptian Rekhgetamen, or doctors of magic, we=
re
referred to in Hebrew history. (1876c1) |
$H Chasing.
|
Chasing. (See CAELATURA.)(1883m1) |
|
The art of embossing=
metal
and then cutting or chasing it with a graver. The art of chasing was much=
practised by the ancients, and the names of several=
Greek
artists who practised this branch with succes=
s have
come down to us. One of these named Mys was f=
amous
for having made a chariot and horses which a fly could cover with its win=
gs.
The art of chasing was of importance in the creation of those masterpiece=
s of
art, the chryselephantine statues, the gold po=
rtion
being elaborately chased. In the great period of Italian art many gold and
silver vessels were exquisitely chased. The great master of the art in th=
is
period was Benvenuto Cel=
lini.
There are some indications at the present time that this long neglected a=
rt
is coming once more into favour.(1891a1) |
|
Chasing. (Caelatura., Lat.) The art of embossing on metal, by which the design is
punched out from behind, and sculptured or CHASED with sharp tools, as
gravers, &c. The metals usually CHASED are gold, silver, and bronze, =
and
among the ancients, iron also. The remains of ancient art show to what de=
gree
of perfection it was carried; and in our own times, some very fine works =
have
been executed. (1855f1) |
$H Chasse.
|
Chasse. Chr., Fr. A reliquary in the form of a box with a =
ridged
top.(1883m1) |
|
Chasse. (Fr.)
A reliquary in the form of a box with a ridged top. See cut to FERETORY. =
(1855f1) |
$H Chastelain. Old English
|
Chastelain. O.E. The=
lord of
a castle.(1883m1) |
$H Chastons. Old English
|
Chastons. O.E. Breec=
hes of
mail; 13th to 16th century.(1883m1) |
$H Chasuble.
|
Chasuble.
An ecclesiastical vestment worn by=
all
grades of the Roman Catholic clergy. It is very simple in form, being a
circular piece of cloth with a hole in the middle, through which the head=
is
thrust. It is put on last and covers all the other vestments. In early ti=
mes
it was the same length before as behind, but in the 11th century the front
was considerably shorter than the back. Soon afterwards, however, it rega=
ined
its symmetrical form, and underwent no further change. It was frequently
richly ornamented. The modern chasuble does not conform in any respect to=
the
true model. Our second cut is from Rubens' picture of Ignatius Loyola. 2 =
ILLUS. chasubl1, chas=
ubl2(1891a1)
|
|
Chasuble.
(Lat. casula, a cottage). Part =
of
ancient ecclesiastical costume common to all the Roman Catholic clergy, f=
rom
the priest to the Archbishop. It was originally made of wool, and in one
piece throughout, without sleeves, and without slit or opening in front, =
and
perfectly circular; but the shape varied with the material; and from the =
6th
century downwards we hear of chasubles of brilliant =
colour
and costly materials, such as silk or thickly‑embroidered cloth of
gold, and oval in form, hanging no longer in graceful folds as in the 11th
century. The engraving (Fig. 155) shows a chasuble of the year 1387. (Com=
pare
PAENULA, PLANETA.) Fig. 155. Chasuble.(1883m1)
|
|
Chasuble,
Chesable, Chesible.
Called also a vestment. The upper or last vestment put on by the priest
before celebrating the mass. In form it is nearly circular, being slightly
pointed before and behind, having an aperture in the middle for the head =
to
pass through, and its ample folds resting on either side upon the arms. I=
t is
richly decorated with embroidery and even with jewels. * During the middle ages," says Pug=
in,
"it hung down before and behind in long points, and was gathered up =
in a
few graceful folds over the arms, as in Fig. 1. This may be considered as=
the
perfection of the chasuble." In process of time they became highly
enriched with embroidery and jewels; the stiffness consequent to which
rendered it necessary to cut the sides away to the shoulders to give free=
r motion
to the arms. Fig. 2. exhibits a chasuble of th=
is
form, and is copied from Rubens' famous picture of St. Ignatius Loyola, t=
he
founder of the Order of Jesuits, which picture is now in * See Shaw's Dresses and Decorations for an incised slab represent=
ing
a priest in a large chasuble richly diapered. - "The stiffness of mo=
dern
vestments is almost as great a defect as their form; indeed the unpliant
nature of the material has, in a great measure, led to the reduced front.
They cannot be too pliable either for convenience or dignity. Every artis=
t is
aware that the folds of drapery constitute its great beauty; the most
majestic mantle extended flat, is unsightly. Ever since the CHASUBLES have
been made of a stiff material, they have been avoided by sculptors and
painters in their works, and they invariably select the COPE instead, sol=
ely
on account of its folds, while if the CHASUBLES were made of the ancient
graceful materials, they would form the most beautiful combinations of
folds." - Pugin's Glossary of
Ecclesiastical Ornament and Costume (from whence our cut is copied). =
=
(1855f1)
|
![](3D"chan_files/image035.gif")
![](3D"chan_files/image036.gif")
![](3D"chan_files/image037.gif")
![](3D"chan_files/image038.gif")
![](3D"chan_files/image039.gif")
$H Chatai.
|
Chatai. Hindoo. Mats, a common manufacture all over |
$H Chat‑faux.
|
Chat‑faux. Med=
. A
wooden shed‑modern scaffold. (See CAGASUPTUS.)(1883m1) |
$H Chatrang.
|
Chatrang. (Sanscrit chatur‑anga, the four angas or soldiers; or chaturaji, the four kings). The Persian name for a very ancient game of the "Fo= ur Kings," supposed to be the origin of the four suits of playing‑= ;cards. (Rev. E. S. Taylor, "History of Playing‑cards.")(1883m1)<= o:p> |
$H Chatzozerah.<= span style=3D'mso-spacerun:yes'>
|
Chatzozerah. Heb. A =
Jewish
trumpet mentioned by Moses, used chiefly for religious and warlike
occasions.(1883m1) |
$H Chauffault.
|
Chauffault. Old Fr. =
A tower
of wood.(1883m1) |
$H Chausses. Old English
|
Chausses. O.E. (1) Pantaloons of ma=
il used
by the Danes. (2) Tight pantaloons=
worn by
the Normans and mediaeval English.(1883m1) |
|
Chausses. (Fr.)
Tight coverings for the body and legs, like the more modern pantaloons, w=
orn
by the Normans and mediaeval English. (1855f1) |
$H Chaussetrap.<= span style=3D'mso-spacerun:yes'> (See CALTRAPS.)= (1883m1)
$H Chaussons. Old English
|
Chaussons. O.E. Bree=
ches of
mail (or of cloth).(1883m1) |
$H Chaussure.
|
Chaussure. (Fr.) A generic term for any kind=
of
foot-covering. (1855f1) |
$H Chavarina. Mediaeval
|
Chavarina. Med. Lat.=
A
carbine.(1883m1) |