$H Colatorium. A colander. (See COLLUM VINARIUM.) (1883m1)

$H Colayn Riban. Old English

Colayn Riban. O.E. An ecclesiastical textile, or orphre= y web, for the manufacture of which Cologne was famous in the 15th century.(1883m1)

$H Colcothar of Vitriol.

Colcothar of Vitriol. A red pigment formerly called caput mor= tuum.(1883m1)

$H Cold‑harbour.

Cold‑harbour. = This common topical name is the Anglo‑Saxon ceald‑herberga, cold "herberge," or shelter, and probably indicates a place wh= ere the ruins of a Roman villa or station were the only available shelter for travellers, in the ancient scarcity of inns.(1883m1)

$H Coliseum. Architecture

Coliseum. (Arch.) An amphitheatre in ancient Rome= of elliptic form and colossal dimensions.(1891a1)

$H Collaboration.

Collaboration. Parti= cipation in the conception or realisa= tion of a work of art. There is sometimes collaboration between architects, or between architects and sculptors, especially in the execution of a statue= , a fountain, &c. Artists who follow different industries frequently collaborate in the execution of one object, such as a piece of furniture = on which a sculptor, a cabinet‑maker, a painter on enamel, a chaser an= d an upholsterer may be engaged. In a case like this, however, the design is generally due to one man alone, and the collaborators would more properly= be called assistants or executants.(1891a1)

$H Collar.

Collar (of a shaft),= Arch. The ANNULET (q.v.). (See also COLLAR‑BEAM.)(1883m1)

Collar. An ornament = worn round the neck, especially as the insignia of an order of knighthood. The oldest order, the knights of which are invested with a collar, is the ord= er of the Golden Fleece, which was established by Philip the Good, Duke of Burgundy, in 1429. The knights of the English order of the Garter, though= an older body than the knights of the Golden Fleece, did not wear a collar u= ntil the reign of Henry VIII. The knights of the following English orders are invested with a collar: the orders of the Bath, St. Michael and St. George, and= the Star of India.(1891a1)

Collar, Med. (1) A defence of mail or plate for the neck.

(2) Generally. An ornament for the neck. The Egypt= ians, Persians, Greeks, Romans, and Gauls wore collars, which were named variou= sly streptos (= FJ= D,= BJ= ÎH[=3Dstreptos]), torquis, torques, &c. Collars were ornamented with heraldic badges in the Middle Ages.

(3) Heraldic. One of the insignia of the orders of knighthood. (See Fig. 178.)

Fig. 178. Collar of Lancaster.(1883m1)

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Collar. An heraldic distinction worn by a knight of a military Order, as a badge of his brotherhood, and containing the motto and emblem of that Order. The colla= r of the Garter, the Golden Fleece, &c., are inst= ances. (1855f1)

--- $H Collar of S.S.

Originally adopted by Henry IV., on the canopy of = whose tomb it is employed as decoration over the arms of himself and his queen.= Its significance is doubtful. Ca= mden says the letters are the initials of Sanctus Simo Simplicius, an eminent Roman lawyer, and that it was particularly worn by persons of the legal profession.

Fig. 179. Collar of S.S.(1883m1)

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$H Collar‑beam. Architecture

Collar‑beam. (= Arch.) A horizontal beam connecting a pair of rafters above their point of support.(1891a1)

Collar‑beam. A= rch. A horizontal tie, connecting a pair of rafters together, across the vault o= f a roof.(1883m1)

$H Collare.

Collare. R. (collum, neck). A collar made of = iron or leather, and studded with spikes. It was used both to confine slaves, = and as a dog‑collar. When a slave ran away from his master, an iron col= lar, with a leading‑chain attached to it, was put round his neck.(1883m1= )

$H Collared. Heraldry

Collared. (Her.) Thi= s term is applied to an animal depicted on a shield with a collar about its neck= , or in the case of an ape about its loins. The French term is accolé (q.v.), which has = also another meaning.(1891a1)

$H Collarino. Architecture

Collarino. (Arch.) T= hat part of the capital in the Roman Doric and Tuscan orders which is included bet= ween the fillet below the ovolo and the astragal at the top of the shaft. The collarino is not found in the ancient orders, except in a few buildings of the Ionic style.(1891a1)

$H Collarium. Mediaeval

Collarium. Med. Armo= ur for the neck.(1883m1)

$H Collection. Architecture

A term given to a nu= mber of pictures, drawings, prints, and objects of art or curiosities belonging to one person, by whom they have as a rule been got together. These are priv= ate collections, but the name is also applied to the treasures amassed by pub= lic bodies and kept in public museums.(1891a1)

Collection. A selection of works in painting or sculpture not large enough to form a gallery, and distributed in various apartments of a mansion. The word is, however, always applied to prints, whatever the quantity ma= y be. (1855f1)

$H Collections of Art.

Collections of Art. Though the ancients collected statuary, pictures, and vases, 1 we cannot fairly date the more regular museums and galleries of Art to a more remote era than the middle= of the fourteenth century, from which period till its close an emulation was kindled to possess the noble mementos of antique Art. The poetic appreciation of Petrarch led to his collecting coins, as well = for their artistic beauty as for their historic interest; Cola Rienzi having = the honour of recalling attention to their claims as early as 1347. Antiques = were never entirely disregarded; w= e find some few students, at an earlier date, who occasionally directed their attention toward them (thus Nicolo Pisano, who died in 1273, studied anci= ent sarcophagi); but the world in general disregarded their claims, until Lor= enzo di Medici, between 1472-92, brought the weight of his taste and judgment = into the field of research, and set vigorously to the task of restoring to lig= ht the lost Art of antiquity, as the safest test for the vital taste of his = own day. He collected largely busts, statues, but especially gems; and he was encouraged by the applause of the greatest minds of his own great era. Raphael and Michael Angelo were enthusiastic in their endeavours at resuscitation. The former proposed a plan for exhuming the entire of anci= ent Rome, and restor= ing the long-buried works of Art beneath its surface; and the well-known antique = torso, which formed the most che= rished possession of the latter artist, is a proof of his full and equal appreciation of their truth, grandeur, and value. Poggius, who died in 14= 59, only knew about five antique statues in Rome; but at the close of the fourteenth century numerous palaces were filled w= ith them, the principal collection being that of the Medici. Among their treasures was the "statue which enchants the world," the Venus which is known from all other antiques of the goddess by the addition of = the name of this noble family. The taste and perseverance of Lorenzo di Medic= i, so justly termed "the Magnificent," stimulated all patrons of A= rt, and again the palaces of Rom= e were decorated with the statuary which had delighted its ancient inhabita= nts. The Papal collection was formed, and Julius II. as well as Leo X. carried on their researches with a zeal that gave the muse= um of the Vatican a prominent place over all other collections. To name the other collectio= ns of Art in "the Ete= rnal City" would = be to describe its varied palaces and museums; suffice it to say it is the stud= io of the world, as important and pre-eminent for its Art-treasures as it was anciently for its political power.

1 The most celebrat= ed antique collection was that formed by Verres and described by Cicero. He notes= that it contained many beautiful pictures of a costly kind; statues of Jupiter, Diana, Sappho, &c., of grand size, both in stone and bronze; an Apoll= o by Myron, and a Hercules, by the same great master; a Cupid by Praxiteles, &c. Within the walls of the gallery hung rich tapestries with borders= of gold; and they were further adorned sumptuously with painting and gilding= of an ornamental kind. The collection also comprised a splendid series of va= ses, patera, &c., some in precious metals, decorated with costly gems.

The taste awakened in Rome spread slowly, but surely, over Europe; and a= mong the nobility and the educated classes "collecting" became a passion. In our own country, the Earl of Arundel was among the earliest a= nd most enthusiastic of collectors; and the remains of his gatherings (scatt= ered by the civil war in England) are now at Oxford= . 2 The Pembroke collection, n= ow at Wilton House, near Salisbury; the Worsley Marbles, at Appuldercombe, in the Isle of Wight; these at Ince-Blundell, and other noble mansions, attest the general value attached to these noble relics. Our universities possess collections also= ; Oxford we have already named as possessing the Aru= ndel Marbles; Cambridge has those bequeathed by J. Disney, Esq.; and some few others. But the gra= nd English collection is of course the British Museum, which, from being comparatively small, has of late years increased so rapidly as to be one = of the most important in Europe. The Elgin and Townle= y Marbles 3 are now to be studied in conjunction with the AEginitan and Lycian Sculptures, as well as with the earlier works of the Assyrians, Babylonians, and Egyptians; and thus the history of Art can be satisfactorily deduced through all ages from its ow= n monuments. The gradual progress of the Art of Sculpture can be traced from its cradl= e in ancient Egypt to its highest glory in ancient Ath= ens. 4

2 See ARUNDEL MARBL= ES. p. 51.

3 The reader will f= ind fuller particulars of these collections under their respective names in t= his dictionary.

4 See the article A= RT, p. 45, for a fuller consideration of this gradual culmination of ancient taste.

Of all continental collections, the most important, while united, = was that formed in the Louvre during the reign of Napoleon. That extraordinary man was not a mere soldier; o= n his expedition to Egypt, he carried with him a group of savans, whose labours enlightened the world, at the expense of the emperor, on the antiquities of this long-neglected country. In the sa= me way, he secured for the national collection at Paris the finest works of painting and sculpture he could obtain, where his armies were victorious, as "spo= ils of war." Some few remain; but at his fall the greater part were retu= rned to the museums from which he had carried them. In 1814 might be seen there the colossal Ceres (in Pentelicon marble) which once decorated the rotund= a of the museum at the Vatican; the gigantic Minerva, known as the "Palla= s of Velletri;" the Apollo "Belvidere," the Venus "de Medicis," the "Cupid and Psyche," the "Group of Laocoon," the "Antinous of the Capitol," the "Dying Gladiator," the "Discobolus of Myron," and numerous other world-renowned works. The paintings numbered among them no fewer than twenty-six by Raffaelle (including his "Transfiguration"), twenty-four by Titian, seven by Leonardo da Vinci, nine by Correggio, fif= teen by Guercino, twenty-four by Guido, fifteen by Paul Veronese, ten by Tinteretto, and fifty-three by Rubens (including all his finest works). T= he same wealth of specimens characterised other schools, and the collection altogether was one so important in its sterling qualities - the "gatherings" of all Europe -= that it was the finest which ever existed, or probably ever will exist again. =

The Louvre in its present condition is a most important and admira= ble museum. Paris offers many others to notice: the "Ecole des Beaux-Arts" and the "Hotel de Cluny" are of importance; the latter particularly, as containing an unique assemblage of mediaeval anti= quities, exhibiting great artistic fancy; without a rival elsewhere, and of much peculiar value, as enabling the student to realise the domestic life of a period in French history of much historic interest, which, without such a= id, would be singularly obscure. The "Musée d'Artillerie" may fairly come within the category of a collection of Art, so exquisitely beautiful is the ornament on much of the arms and armour there exhibited.= The Luxembourg and Versailles are a= lso great schools for Art-study.

But the most important antique collections, in enabling us to reca= ll the usual life of the Greeks and Romans, are those which have been obtain= ed from the exhumations at Herculaneum and = Pompeii, and which find their home within the wall= s of the Museo Borbonico, at Napl= es. From 1738, when the first important excavations were made in the lost cit= y of Herculaneum, until the present time, additions have been made here of so varied and so interesting a kind, that we are fully acquainted with the manners and customs adopted by the inhabitants of these long-buried citie= s as if we had visited them when they lived. Almost every article of domestic = use or luxury required by their ancient denizens has been recovered, from the simplest article of the ladies' toilette to the armour of the soldier; fr= om the kitchen utensil to the ivory chair; nothing is wanting that was in every-day use in the cities thus suddenly overflowed by the lava, which h= as preserved them for the information of future ages. In peculiar interest, = this famed collection is certainly without a rival; and the beauty and taste exhibited in nearly all its varied contents gives it a distinguished place among collections of Art.

No great capital in the present age is without its Art-gallery - a= ll more or less famed; Berlin, Brussels, Madrid, and Vienna being the princi= pal; the Hague and Antwerp present formidable rivalries; but there are numerous minor cities and tons remarkable for the pictures they enshrine, and nume= rous churches abroad which well deserve the epithet of "Collections of Art," whether we consider the paintings which hang upon their walls, "the storied windows richly dight," the sculptures which fill t= he aisles and altars, or the fine examples of antique gold and silver work, = gems and chasings, which crowd the treasuries of such edifices. For antique Ar= t we provide our museums, but it is in the sacred edifices abroad, as well as = at home, that we must study that of the middle ages, and trace its best work= s, executed under the influence of its deep religious fervour.

Of the public collections of pictures by the old masters in England, after the National Gallery, tho= se at Dulwich College and Hampton Court may divide the palm= . 5 Of private collections, the m= ost important are those of the Marquis of Westminster (the "Stafford Gal= lery"), 6 the Marquis of Hertford, t= he Earl of Ellesmere, Lord Ward, and Lord Northwick, among the nobility. Amo= ng the untitled are numerous important gatherings, particularly Mr. Baring's, Mr. Holford's, Mr. Munro's, Rogers the Poet, &c.; for a fuller detail= of all of which we must refer to Dr. Waagen's Art in England, a work which forcibly displays the treasures = we possess within our "sea-girt isle."

5 The principal contents of each of these collections are described under their titles in future pages.

6 See that term in = this dictionary.

Of modern Art, our public collections possess few examples; but for one brilliant exception, that of "the Vernon Gallery," 7 English Art would have scarce= ly made sufficient show to attract attention in any of our public places. Private collectors abound; but their collections are necessarily restrict= ed, the most important being that formed by Mr. Sheepshanks, and which includ= es many fine examples of the best modern painters.

7 See that term for= a detailed account of this collection. (1855f1)

$H College. Architecture

College. (Arch.) A b= uilding or collection of buildings established for the education of youth. The colleges at Oxford and Cambridge are among our most interest= ing architectural monuments. They usually consist of one or more quadrangles, with buildings ranged round them, in which the fellows and students live,= as well as a chapel, a library, and a dining‑hall.(1891a1)<= /span>

$H Collegiate Church. (See Church, Collegiate.) (1891a1)

$H Collegium.

Collegium. R. A reli= gious or industrial corporation in ancient Rome. The corresponding Greek institutions were the Hetairiai. The colleg= ia included trade companies or guilds.(1883m1)

$H Collet.

Collet. The setting = which surrounds the stone of a ring. (See CRAMPON.)(1883m1)

$H Colliciae.

Colliciae, Colliquiae. (1) Broad open drains through fields.

(2) Gutters of hollo= w tiles (imbrices) placed beneath the= roof of a house to receive the rain‑water, and convey it into the IMPLUV= IUM.(1883m1)

$H Colliciaris.

Colliciaris. (sc. tegula). A hollow tile employed = in the construction of colliciae.(18= 83m1)

$H Colliquiae. [See Colliciae]

$H Collodion.

Collodion. A solution of gun cotton in ether, used in photography.(1883m1)<= /span>

Collodion. A solution of gun‑cotton in ether, a thin coating of which was spread= on photographic glass plates before the invention of plates prepared with gelatino‑bromide.(1891a1)

Collodion. A solution of gun-cotton in ether. Th= is preparation spread upon glass plates is much employed to receive the sensitive calotype surface. It is by far the most delicate of the photographic processes; and for portraits much exceeds anything which has= yet been introduced. It is so rapidly affected by the chemical rays of the su= n, that moving objects can be instantly depicted upon the photographic table= t, into the composition of which it enters. (1855f1)

$H Collum Vinarium.

Collum Vinarium (fro= m collum, a neck). A colander or w= ine‑strainer. The custom of straining wine dates back beyond our era, and Christ made an allusion to it when he told the Pharisees that their colla allowed a camel to pass, while they kept back a gnat. S= now was put into a strainer or a bag, called respectively collum nivarium, sacc= us nivarius, through which the wine was allowed to filter, not only to c= ool it, but because the intense cold cleared the wine, and rendered it sparkl= ing and transparent; it was then called vinum saccatum. The Christian Church from the first adopted this instrument= in its liturgy; another name for it was colatorium. (See NASSA.) The colander for wine was made of silver, or bronze, or other metal. The linen cloth called sac= cus was not used for wine of any delicacy, as it spoiled its flavour.(1883m1)=

$H Colluviarium.

Colluviarium. R. An = opening made at regular intervals in the channel of an aqueduct, for ventilation.= As this opening formed a kind of well, it was also called PUTEUS (q.v.).(188= 3m1)

$H Collyra.

Collyra. Gr. and R. = A kind of bread made in a special manner, which was eaten with soup or sauce; th= ere was also a cake so called.(1883m1)

$H Collyris.

Collyris (6@88LDÂH[=3Dkolluris], synonym of 6@88bD"[=3Dkollura], q.v.). A head‑dress = worn by Roman ladies, resembling in shape the bread called = 6@= 8= 8b= D"[=3Dkollura]; the latter was call= ed 6= @88= LD= ÂH[=3Dkolluris] as well.(1883m1)

$H Collyrium.

Collyrium (= 6@= 8= 8b= D4= @<[=3Dkollurion], dimin. of 6= @88= bD= "[=3Dkollura], q.v.). (1) A term denoting anything we should now call an unguent, but especially the salve collyrium, which was a liquid medicament. (2) Collyria was a term applied to Egyptian vases of terra&= #8209;cotta, with or without enamel; to small quadrangular boxes of wood or pottery; a= nd, lastly, to small cylindrical cases of wood or bronze divided into compartments. There were three prevailing forms of the vases. The Egyptia= ns used antimony to make their eyes look larger, and had some medicament for= the relief of toothache; and inscriptions indicating these uses may be read u= pon vessels of this kind. (Fig. 180). Fig. 180. Collyrium or unguent Vase; Egyptian. Museum= of the Louvre.(1883m1)<= /o:p>

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$H Colne. Old English

Colne. O.E. A basket= or coop.(1883m1)

$H Colobium.

Colobium (from = 6@= 8@= $Î= H[=3Dkolobos], docked or curtailed). A tunic with short sleeves, which scarcely covered = the upper part of the arm. At Ro= me it was worn by men of free birth. The colobium appears to have been the first dress adopted by Christian deacons, and in= the liturgical writings it is often met with under the name of livitonarium; when it was of fine linen, it was also called lebiton= and lebitonarium. (Fig. 181.)= Later on the sleeves were lengthened, and it became known as the DALMATIC (q.v.= ). =

Fig. 181. Roman Plebeian wearing the Colobium.(1883m1)

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$H Col= ogne Black. (See BLACK.) (1883m1)

$H Col= ogne Earth.

Cologne= Earth. A bituminous earth of a violetR= 09;brown hue, transparent and durable in water‑colour painting.(1883m1)=

Cologne= Earth. (Paint.) A pigment obtained from a bituminous earth resembling sepia. It is chiefly used for making sketches= in which broad effects are aimed at.(1891a1)

Cologne= Earth. A bituminous earth of a violet brown hue, transparent, and durable in water-colour painting. (1855f1)

$H Colonica.

Colonica. Synonym of= villa rustica. A farmhouse.(1883= m1)

$H Colonnade. Architecture

Colonnade. (Arch.) A= number of columns symmetrically arranged in one or more rows. The columns are surmounted by an entablature or a series of arches according to the style= of the building. The term colonnade<= /i> is also applied to porticos. This form of decoration was in general use in ancient architecture, and is also found in modern buildings of the classic style. The west front of St.= Paul's, the work of Sir Christopher Wren, may be mentioned as a good example of a colonnade. ILLUS. colonnad(1= 891a1)

<= /o:p>

Colonnade. A row of columns supporting a buildin= g or a roof, or surrounding it, and consisting of one or more lines of pillars; being termed MONOSTYLE, when of one row, and POLYSTYLE when of many. (185= 5f1)

$H Colonnette. Architecture

Colonnette. (Arch.) A column, the diameter of which is very small in proportion to its height. Colonnettes are frequently used in buildings of the Gothic style to suppo= rt arcades, and when clustered form piers.(1891a1)

$H Color. Music

Color, Lat.

(1) The term is used= in several senses in mediaeval treatises upon music, with a general idea of a quality of tone obtained by striking variations.

(2) The coloured lin= es used in transcribing music. (See NEUMES.)(1883m1)

$H Colores Austeri.

Colores Austeri. Anc= ient pigments, not floridi.(1883m1= )

$H Colores Floridi.

Colores Floridi. Anc= ient expensive and brilliant pigments. They were chrysocollum, indicum (or indigo), caeruleum (smalt), and cinnabar.(1883m1)

Colores Floridi. The name given by the ancients to the expensive and brilliant pigments, as distinguished from the four hard rough principal pigments of earlier times. The COLORES FLORIDI were supplied by the employer, and oft= en purloined by the artist: they were CHRYSOCOLLA; INDICUM (indigo introduced into Rome in the time of the Emperors); CAERULEUM (a blue smalt made at Alexandria, from sand, saltpetre and copp= er); and CINNIBARIS, which was partly natural and partly artificial VERMILION; also an Indian pigment, procured from the sap of the pterocarpus draco, called DRAGON'S BLOOD. Other pigments were called COLORES AUSTERI. (1855f1)

$H Colorist. =

Colorist. A painter whose works are remarkable for beauty of colour. Titian, Correg= gio, Paul Veronese, Rubens, Vandyk, are in the first rank of colorists. The Venetian and the Flemish schools have supplied the greatest number of colorists, as well as the best; always excepting Correggio, the founder of the Lombard School, who is by many regarded = equal to Titian. Colour being, as well as design, an essential part of a pictur= e, every colorist is, at the same time, more or less a draughtsman. But experience shows, and theory furnishes good reasons for believing, that t= hese two qualities, which many artists possess together in a moderate degree, = are rarely found in an eminent degree united in the same individual, and still less in the same picture. (1855f1)

$H Colossal.

Colossal. Monuments, statues, or works of art are termed colossal when they are of extraordina= rily vast dimensions.(1891a1)

Colossal. Of gigantic size, or in any way exceed= ing that of nature. (1855f1)

$H Colossi. Egypt

Colossi. The Egyptians were remarkable beyond any o= ther nation for their gigantic statues of deities, kings, and symbolic animals= , of which the sphynx is a unique example. These immense works of art were generally wrought in monolith, and were brought to their position simply = by the use of the roller and lever, conjoined with the united efforts of many hundred men. The following are the chief isolated statues which remain, t= hose which are wrought in the solid rock and form the façade of the gre= at temple of Abusimbe= l, being properly architectural features: Amenhotep III., XVIIIth dynasty, at Thebes, a pair, one of them being the vocal Memnon; Rameses II., XIXth dynasty, several at Mitrahenny, at Luxor and Karnak, besides the four at Abusimbel; Rameses III., XIXth dynasty, at Medinat Habu. Others of smaller size, but still colossal, are those of Sebekhotep III., XIIIth dynasty, at the Louvre; and also another of a still earlier period, upon the face of which Amenhotep III. has had his own name cut, although the statue itself is of the XIIth dynasty. (Pierret.) (1876c1)

Colossi. These were placed in front of the temples. There were two, four, or six representing the founder of the temple. So much was thought of these figu= res that if a Pharaoh would not be at the pains to have his own portrait exec= uted he would erase the names of his predecessor from some existing statues and substitute his own. But few of these are left standing. The most celebrat= ed were the statues of Amen-hetep III. at Thebes, one of w= hich was called the "Vocal Memnon" (q.v.). They, like most colossal statues, are seated figures. Their height is 52 = ft. The colossus of Ramses II. at the Ramesseum at= Thebes was the l= argest known, being 57 1/2 ft. high. It lies shattered on the ground. A head sim= ilar to that of this statue was found near the south side of the Ramesseum, and was transported to England. It is now in the Britis= h Museum. At Memphis lies ano= ther statue of Ramses II., 31 1/2 ft. high. The two seated colossi in front of= the temple at Luxor are 45 ft. high. All these figures of Ramses are of granite. The colossal figures carved out of the gritstone hill at Abu Simbel, which form the façade of the te= mple of Ramses II., are about 66 ft. high without the pedestal. In a tomb now almost destroyed at= El Bersheh there was a representation on the wall of the transportation of a colossus. The chief colossi belong to the period of the New Empire, after which time the taste for them seems to have died out.(1902b1)<= /span>

$H Colossus.

Colossus. A statue of colossal dimensions, such as were the Egyptian figures of Osiris and the Sphinx. The statue of Apollo erected at Rhodes was a colossus. Such, too, is the enormous statue of Independence execute= d but just now by the French sculptor Bartholdi, and set up at the entrance to = New York harbo= ur in America.(1891a1)

Colossus (6@8@FF`H[=3Dkolossos]). The word was used for all statu= es larger than life; that at Rhodes was n= inety feet high. The Minerva and Jupiter Olympus of Pheidias, the Farnese Hercu= les, and the Flora of the Belvide= re, were all colossal.(1883m1)

Colossus. A statue of exaggerated dimensions, ve= ry much larger than nature, examples of which abound in all nations. Among t= he most famous was the Colossus of Rhodes, regarded as one of the seven wonders of the world; it was about one hundr= ed feet in height. Other COLOSSI celebrated in antiquity are the Minerva and Jupiter Olympus, works of Phidias; the Farnese Hercules, and the gigantic Flora of the Belvedere. (1855f1)

$H Colour.

Colours, in Heraldry= , are five: Blue or Azure, Red or Gules, Black or Sable, Green or Vert, Purple = or Purpure. In French heraldry Green is Sinope. The uses and general symboli= sm of each colour are described under its own heading. The best work on symbolic colours is the "Essay" of M. Portal. One of the best on the theory of colours is that of Chevreuil.(1883m1)

Colour. (Paint.) Col= our in a general sense is the impression produced upon the eye by coloured substan= ces. In a more special sense it is the effect produced by the arrangement of colours in a picture. Thus we say, "The Venetians have the genius of colour." Colour is not only applied to drawings, in which objects are modelled by means of different tints, but also to those in which the effe= ct is produced only by means of contrasts of black and white. An engraving or lithograph, for instance, without any other tone but black and white, may= be more full of colour than a painting, if it produces a more brilliant effe= ct than the latter.(1891a1)

Colour. The tints in a picture. The paint used by the artist. The type of colour = is found in the prismatic spectrum, or the rainbow; in which we disc= over that a ray of white light is capable of being decomposed into three primitive colours - RED, BLUE, a= nd YELLOW; these, by their mixture, produce three other colours, which are termed secondary; thus, the u= nion of red with blue yields, when in varied proportions, the different hues of purple and violet red, mixed with yellow, yields orange; yellow, with blu= e, produces green. Every hue in nature is a compound of two or more of the primitive colours in various proportions. GREYS and BROWNS are compounds = of all three of the primary colours in unequal proportions. BLACK results fr= om a mixture of blue, red, and yellow, of equal intensity, and in equal propor= tions. Of material colours (pigments) there is but one (ULTRAMARINE) that approa= ches the purity of the type in the spectrum - all the others are more or less impure; thus we cannot obtain a pure red pigment, since all are more or l= ess alloyed with blue or yellow. If we could obtain a red and a yellow of the same purity and transparency as ultramarine, we should need no other pigm= ents for our palette, since, by judicious mixture, the three pigments would yi= eld every tint in nature. - LOCAL COLOURS are those peculiar to each individu= al object, and serve to distinguish them from each other. - COMPLEMENTARY COLOURS are composed of the oppos= ites of any given colour. If this colour is a primitive, such as BLUE, the complementary colour is composed of the other two primitive colours, viz., red, and yel= low, or orange; the complementary colour to any secondary is the other primitive colour; thus the complementa= ry to green (composed of blue and yellow), is red, and so on for the remaind= er. - HARMONY OF COLOUR results from an equal distribution of the three prima= ry colours, either pure, or compounded with each other, as greys and browns.= - CONTRAST OF COLOUR is either simple or compound. Each of the primitive colours forms a contrast to t= he other two; thus blue is contrasted by yellow and by red - either of these forms a simple contrast to blue; but by mixing yellow and red together, we produce orange, which is a compou= nd contrast, consequently orange, the complementary colour, is the most powerful contrast that can be made to BLUE. Colours are regarded as warm or cold, positive or negative;= thus blue is a cold, and or= ange a warm, colour. Red neither war= m nor cold. All warm colours are contrasts to cold colours. 1 - SYMBOLIC COLOURS. Colours h= ad the same signification amongst all nations of remotest antiquity. Colour was evidently the first mode of transmitting thought and preserving memory; to each colour appertained a religious or politic= al idea. The history of symbolic colours testifies to a triple origin marked= by the three epochs in the history of religion - the divine, the consecrated, and the profane. The first regulated the costume of Aaron and the Levites, the rites of worship, &c. Religion gave birth to the Arts. It was to ornament temples that sculpture and painting were first introduced, whenc= e arose the consecrat= ed language. 2 The profane 3 language of colours was a degradation from the divine and consecrated languages. 4

1 The practical investigation of this subject is nowhere so usefully explained as in Hundertpfund's Art of painting re= stored. London, 1849.

2 The large glass windows of Christian churches, like the paintings of Egypt, have a double signification - the apparent and the hidden; the one is for the uninitiat= ed, and the other applies itself to the mystic creeds. The theocratic era las= ts to the Renaissance. At this e= poch symbolic expression is extinct; the divine language of colours is forgott= en; painting becomes an art, and is no longer a science.
3 The aristocratic = era commences. Symbolism, banished from the church, takes refuge at court; disdained by painting, it is found again in heraldry.
4 This subject is a= mply and ingeniously illustrated in Portal's Essay on Symbolic Colours. Translated by Inman. London, 1845. (1855f1)

--- $H Colours, Blended.

The effect obtained = by the passing of one colour or tone to another by means of imperceptibly gradua= ted shades or tints.(1891a1)

--- $H Colour, Bronze.

A colour of a greeni= sh or reddish tint.(1891a1)

--- $H Colours, Complementary.

Colours the combinat= ion of which produces white light. According to the laws of physics the complementary colour to green is red, that to blue is orange, that to pur= ple is yellow, and vice versa. In practice the combination of complementary colours does not produce pure w= hite at all, but grey.(1891a1)

--- $H Colour, Flame.

A warm brilliant sha= de of red.(1891a1)

--- $H Colour, Flesh.

A colour of a pale r= ed tint, mixed with rose, white, yellow, and sometimes with bluish grey in its sha= ded portions.(1891a1)

--- $H Colour, General.

A term applied to the tonality (q.v.) of a whole picture.(1891a1)

--- $H Colours, Heraldic.

(Her.) Heraldic colo= urs, as distinguished from the heraldic metals and furs, are five in number: azur= e or blue, gules or red, sable, or black, vert or green, and purpure or purple= . In blazoning they are thus abbreviated: az., gu., sa., vert, and purp.(1891a1)

--- $H Colours, Light. &nbs= p;

Colours which by the addition of white remain clear.(1891a1)

--- $H Colour, Livid.

A leaden tint, blue,= violet, or green, approaching to black.(1891a1)

--- $H Colour, Local.

The colour which bel= ongs to a special object. The romantic school extended this expression to mean the accurate presentment of site, costumes, and accessories. When Decamps represented for the first time the true Turks of Asia Minor instead of the conventional Turks with their garments decorated with a sun, he gave us an example of local colour.(1891a1)

--- $H Colour, Pearly.

A colour of a very f= ine and harmonious grey tone.(1891a1)

--- $H Colours, Primary.

Primary colours, whi= ch cannot be compounded by mixture of other colours, are three in number, re= d, yellow, and blue. They are also termed primitive.(1891a1)

--- $H Colours, Prismatic.

A term applied to th= e seven simple colours, purple, indigo, blue, green, yellow, orange, and red, whi= ch result from the decomposition of a ray of light by means of a prism.(1891a1)

--- $H Colours, Relative.

(Paint.) Colours whi= ch blend easily and produce harmonious tones.(1891a1)

--- $H Colours, Secondary.

Colors, Secondary, a= re three in number. Each of them is formed by the mixture of two of the three prim= ary colours: thus, orange from red and yellow, green from blue and yellow, pu= rple from red and blue.(1891a1)

--- $H Colour, Shot.

A colour which varies according to the angle at which it is seen.(1891a1)

--- $H Colours, Symbolic.

In the works of early Christian painters certain colours symbolised or were exclusively associa= ted with certain persons or subjects. For instance, white was the symbol of light, purity, and faith, while black suggested mourning, wicked= ness, and death. As art freed itself from the trammels of tradition this symbol= ism was soon forgotten or neglected.(1891a1)

--- $H Colours, Tertiary.

Colours, variable in= number, which enter into the composition of another colour.(1891a1)

--- $H Colour, Wood.

Wood colour is a yel= lowish brown tint. When we say that a figure is wood colour, we mean it is heavy and false and disagreeable in tone. Dark = wood colour is frequently used in industrial art to give to common white woods= the appearance of darker and more valued woods.(1891a1)

$H Coloured.

Coloured. When certa= in surfaces either in a drawing or engraving are covered with colour they are said to be coloured. The engr= aved plates in scientific works, for instance, are frequently copied from mode= ls and coloured by hand. This method of colouring is as a rule unsatisfactory and has a tendency to fade. In fact it is now generally replaced by chromolithography (q.v.). In cheap publications a process of colouring has been invented which is nothing more than mechani= cal, but it can only be applied with satisfactory results to surfaces of considerable extent. It consists in the employment of different patterns = cut out in linen like vignettes equal to the number of the colours which are = to be applied. The operator, by means of leading points, places the pattern on the engraving which he desires to colou= r, and passes a sponge impregnated with the necessary colour over the whole print, the colour only adhering to the vacant space where the pattern has been cut out. This operation is repeated as many times as is necessary, either before or after the drying is complete; in the former case an effe= ct of blending can be obtained. In spite of the careful management which is essential to this process it is inexpensive.(1891a1)

$H Colouring. Painting

Colouring. (Paint.) = The general effect produced by the colours, employed in a painting. When we s= ay that the colouring of a pictu= re is violent, bold, sad, fine, delicate, we refer to the sensation which the colouring produces in us.(1891a1= )

$H Colourist. Painting

Colourist. (Paint.) A painter is termed a colourist when he prefers to aim at grand effects of colour, and to excel in giving his works a mingled brilliance and harmony. The painters of the Ven= etian School are most celebrated as colourists, and among them Titian and Veronese must first be mentioned. After them come Ribera and Velasquez of the Spanish School, Rubens and Rembrandt o= f the Flemish and Dutch Schools, and Eugène Delacroix of the French School. The modern English Sc= hool has produced several artists eminent in colour, the Pre‑Raphaelites being especially entitled to mention.(1891a1)

$H Colpias. Phoenicia

Colpias. "Wind." (?) In Phenician mytholog= y the primaeval deity of the wind, who with his wife Baau or night begot AEon a= nd Protogonus, the first mortal men. (1876c1)

$H Colubrina. Mediaeval

Colubrina. Med. Lat.= (from coluber, a snake). A culverin.(1= 883m1)

$H Colum.

A strainer for wine = in use among the Greeks and Romans at an early date. It was adopted by the Chris= tian Church for straining the sacramental wine. ILLUS. colu= m(1891a1)

<= /o:p>

Colum. A strainer= for wine, depicted in use on the paintings of the early Etruscan tombs exhume= d by Campanari, copies of which are now preserved in the British Museum; and from one of them our engraving is copied. In the original it is held = by a youth over a drinking-cup, into which the wine drains through the holes in the base; the empty olpe which filled it being borne in his other hand. FIGU= RE (1855f1)

<= /o:p>

Columba, St.

Columba, St. This saint is represented with a cr= own upon her head, and standing upon a pile of burning wood, an angel by her side; sometimes she holds a sword. According to the legend, the angel is = said to have extinguished the flames with his wings, whereupon she was beheade= d by order of the Emperor Aurelian, at Cordova, A.D. 273. The idea that she wa= s of royal blood appears to have arisen from the crown, which, on the contrary, refers to her being a martyr. (1855f1)

$H Columbar.

Columbar. R. A kind = of pillory used for punishing slaves. The instrument derived its name from t= he holes in it, which bore some resemblance to pigeon‑holes.(1883m1)

$H Columbaria. Architecture

Columbaria. (Arch.) = The recesses in ancient tombs in which the urns containing the ashes of the d= ead were placed. They got their name from their supposed resemblance to dove&= #8209;cots. The term is also applied to holes left in a wall for the insertion of timbers.(1891a1)

$H Columbarium.

Columbarium. A dove‑cote or pigeon‑house, often constructed to hold as many as 4000 or = 5000 birds. In the plural the term has many meanings.

(1) It denotes the pigeon‑holes or cells for= the nests in a pigeon‑house.

(2) In a sepulchral chamber, the niches for holdin= g the cinerary urns (ollae). Fig. 1= 82 represents the numerous columbari= a in the tomb of the freedmen of Octavia. In the sepulchral architecture of= the Jews, the rock‑hewn walls forming the vestibules of certain tombs w= ere honey‑combed with minute co= lumbaria, in which only lamps were placed. Fig. 183 represents cells of this charac= ter taken from the tomb of Quoublet&#= 8209;el‑Endeh.

Fig. 182. Columbarium. Fig. 183. Columbaria in rock= 209;hewn walls.(1883m1)

&nbs= p; &= nbsp; &nbs= p;

(3) The openings in the side of a ship through whi= ch the oars passed.

(4) The holes made in a wall to receive the head o= f a tie‑beam.

(5) The openings of the scoops in a particular kin= d of hydraulic wheel called TYMPANUM (q.v.).

Columbarium. (Lat.) A sepulchral chamber, the walls having niches all round for the reception= of the urns of the dead, which when of a decorative character were inscribed= and placed within them; and when plain, sunk in each niche, with an inscripti= on on the wall. (1855f1)

$H Columella. Dimin. of columna. (See COLU= MN, CIPPUS.) (1883m1)

$H Columen.

Columen. Gr. and R. = The highest timber in the framework of a roof, forming what is now called the ridge‑piece.(1883m1)

$H Column.

Column. (Arch.) A cylindrical support placed vertica= lly, consisting generally of three parts: the base, the shaft or cylindrical portion, and the capital.(1891a1)

Column. The supporting prop or pillar of a templ= e, hall, or portico. The monumental column is described under those of ANTON= INE and TRAJAN. (1855f1)

Column, Arch. A column consists of three principal parts: the base (a), the shaf= t (b), and the capital (c). In the Doric, or most ancient style, the columns in a row rest upon a common base (podium). In the Ionic and Corinthian, each column has its own base (spira). The shaft of all columns tapers gradually from= the base to the capital. Any swelling introduced to modify the straightness of the line was called entasis. = On the summit of a row of columns rests the architrave, or chief beam (d); above this= the frieze (e), and the cornice (f) projects above the frieze. Th= ese three together are called the ent= ablature. The triangular gable‑end of the roof, above the entablature, is cal= led the pediment. A circuit of co= lumns, enclosing an open space in the interior of a building, was called a peristyle. A temple of two stori= es, with one peristyle upon another (Ionic or Corinthian columns over the hea= vier Doric), was called hypaethral= . In Christian archaeology the column is a symbol of the Church, which was cal= led, so early as St. Paul, columna et firmitatum veritatis (the column and support of truth).

Fig. 184. Ionic column.(1883m1)

--- $H Column, Attic.

(Arch.) A column dec= orating an attic storey above the entablature.(1891a1)

--- $H Column, Cantonned.

(Arch.) An engaged c= olumn placed at an angle to strengthen a pillar and to support the spring of an arch.(1891a1)

--- $H Columns, Clustered. =

(Arch.) A collection= of columns in juxtaposition or welded together, which form a pier in Gothic architecture. The plan of some clustered columns exhibits complicated combinations of arcs of circles and squares, which serve to detach the columns from one another. ILLUS. columns1(1891a1)

<= /o:p>

--- $H Column, Composite.

(Arch.) A column sur= mounted by a composite capital.(1891a1)

--- $H Column, Corinthian.

(Arch.) A lofty colu= mn with the proportions of the Corinthian order. [Corinthian.](1891a1)

--- $H Columns, Coupled.

(Arch.) Columns p= laced two and two, side by side, no account being taken of the rules by which t= he intercolumnation is fixed. The purpose of this arrangement is not only to increase at certain points the actual resistance of the supports, but to render this resistance more evident. Sometimes the abacus (q.v.), extends without a break over the two capitals. ILLUS. columns2(1891a1)

<= /o:p>

--- $H Column, Cylindrical.

(Arch.) A column of = constant diameter, the outline of which is determined by parallel lines.(1891a1)

--- $H Column, Diminished.

(Arch.) A column hav= ing the diameter at its base greater than its diameter at its capital. Doric temp= les offer the finest examples of diminished columns. The diminished column, w= hich forms a truncated cone, was entirely abandoned in the 17th and 18th centu= ries and replaced by the swelling column. ILLUS. column1d(1891a1)

<= /o:p>

--- $H Column, Doric.

(Arch.) A lofty colu= mn with the proportions of the Doric order. [Doric.](1891a1)

--- $H Columns, Doubled.

Columns placed one b= efore the other in the same plans at right angles to a façade.(1891a1)

--- $H Column, Embedded.

(Arch.) A column par= tly lost in the vertical wall against which it is placed. It is called a half colu= mn when half of it is engaged an= d the projecting portion is a semicircle. ILLUS. column1e(1891a1)

<= /o:p>

--- $H Column, Engaged. [See Column, Embedded.] (1891a1)

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

(Arch.) A column sur= rounded by pilasters.(1891a1)

--- $H Column, Fluted.

(Arch.) A column the= shaft of which is ornamented with flutings.(1891a1)

--- $H Column, Gnomonic. =

A column upon which = a dial plate is placed.(1891a1)

--- $H Column, Gothic.

(Arch.) The name giv= en to the clustered columns, forming a pier, which are used in Gothic buildings= .(1891a1)

--- $H Column, Grouped.

(Arch.) A group of a= t least three columns placed upon a single pedestal.(1891a1)

--- $H Column, Hermetic. =

(Arch.) A column cov= ered with hieroglyphics placed in the most secret portion of an Egyptian templ= e.(1891a1)

--- $H Column in bands. =

(Arch.) A column for= med of drums placed one upon the other, the height of which is less than the diameter.(1891a1)

--- $H Column in trencheons.

A column formed of d= rums placed one upon the other, the height of which is greater than the diamet= er.(1891a1)

--- $H Column, Ionic.

A lofty column with = the proportions of the Ionic order.(1891a1) Fig. 184. Ionic column.(1883m1)

--- $H Column, Manubiary.

A column the shaft o= f which is decorated with trophies.(1891a1)

--- $H Columns, Median.

Columns placed in th= e centre of a portico, and separated from one another by an intercolumniation grea= ter than the space between the other columns in the same range.(1891a1)<= /o:p>

--- $H Column, Menian.

A column the capital= of which is surmounted by a gallery or balcony.(1891a1)

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

A column placed on R= oman roads at regular intervals of a thousand paces.(1891a1)

--- $H Column, Monumental.

A column erected in = memory of a great person or event.(1891a1)

--- $H Column, Nicked.

A column set back in= a vertical wall in such a way that a clear space is left between the wall a= nd the shaft of the column from base to capital.(1891a1)

--- $H Column, Oval.

(Arch.) A flattened = column, the section of whose shaft is an ellipse.(1891a1)

--- $H Column, Paestian. =

A lofty column with = the proportions of the Doric columns of the temple of Paestum= .(1891a1)

--- $H Column, Pastoral. =

A column the shaft o= f which resembles the trunk of a tree.(1891a1)

--- $H Column, Polygonal.

(Arch.) A column the= shaft of which is polygonal.(1891a1)

--- $H Column, Ringed.

(Arch.) A column dec= orated with annulets in relief.(1891a1)

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

(Arch.) A column wit= h its shaft decorated by the prows of galleys.(1891a1)

--- $H Column, Rustic.

(Arch.) A column the= shaft of which is decorated with projecting rustic work.(1891a1)

--- $H Column, Serpentine.

(Arch.) A column for= med of interlaced serpents.(1891a1)

--- $H Column, Statuary. =

A column surmounted = by a statue.(1891a1)

--- $H Column, Swelling. =

A column in the form= of a prolonged spindle. Its diameter is the same at its base and capital, but = increases considerably towards its centre. Sometimes the swelling is only observable in one‑third of the height of the column.(1891a1)

--- $H Column, Triumphal.

A column erected in = memory of a great victory.(1891a1)

--- $H Column, Tuscan.

A lofty column with = the proportions of the Tuscan order.(1891a1)

--- $H Column, Twin.

(Arch.) A support co= nsisting of two columns of the same diameter, placed side by side or welded togeth= er from base to capital.(1891a1)

--- $H Column, Twisted.

(Arch.) A column the= shaft of which is made up of several spirals. According to Vignole this column should not consist of more than six spirals. There are, however, many examples of the twisted columns, the number of whose spirals exceed that = laid down by Vignole. The twisted column is chiefly used in cabinet‑maki= ng, the decoration of furniture, &c. ILLUS. column1t(1891a1)

<= /o:p>

$H Columna Bellica.

Columna Bellica. A c= olumn of the temple of Janus at Rome before which proclamations of war were issued.(1891a1)<= /p>

$H Colures.

Colures. In Astronom= y, the two circles which pass through the four cardinal points of the ecliptic -= the equinoctial and solstitial points.(1883m1)

$H Coluria.

Coluria. Arch. Circu= lar segments of stone, in the construction of a column, such as are now called tambours or disks.(1883m1)

$H Colus.

Colus. A distaff. Wi= th the Romans it consisted of a thick cane (arundo, donax), split at the end in such a way that the opening formed a bask= et. Compta, plena, or lana amicta= were the epithets applied to a co= lus when filled with wool. The thread obtained from it was called stamen. The ball of loose wool a= t one end, prepared for spinning, was called glomus. The lower end of the distaff rested under the left arm; the right hand sp= un and wound the thread on to the spindles (called fusus). (See DISTAFF.)(1883m1)

$H Colymbion.

Colymbion. Chr., Med= . A vessel for holy water at the entrance of a church.(1883m1)

$H Colymbus.

Colymbus. Gr. and R.= A basin or reservoir used either as a swimming‑bath or for washing linen in.(1883m1)