$H Coma.

Coma<= /span> (6`:0=3Dkome]).

(1) The hair; hair o= f the head.

(2) The mane of anim= als. (See CAESARIES, CINCINNUS, HAIR, &c.)(1883m1)

$H Comatorius or Comatoria.

Comatorius or Comatoria (sc. acus). A long pin or bodkin of gold, silver, bronze, or ivory, used by the Roman ladies to keep up their hair when plaited. It was also called ACUS CRINAL= IS (q.v.). (Compare DISCERNICULUM.)(1883m1)

$H Combattant.

Combattant. Her. Sai= d of lions, or other animals of prey, rampant and face to face.(1883m1)

$H Comb.

Comb. A well-known instrument for separating and adjusting the hair. That it was employed by the ancients for the former purpose is evidenced by those fou= nd at Pompeii and in Egyptian tombs. It does not appear that the hair was fastened by combs; they are not found in that position in the remains of ancient Art;= the acus, or bodkin, was used for that purpose. *

* See cut p. 6. (1855f1)

Combs. The earliest form of comb known dates from what is usually called the "Pre-historic" period, and is made of ivory, with rude but vigo= rous carvings of animals on the back. Specimens of this period are very rare. = The later kind is of wood, with teeth on both sides exactly like our modem to= oth comb, except that the teeth are sometimes wider on the one side than on t= he other. The flat surface along the centre is frequently ornamented with carving or inlay.(1902b1)

Combs (Lat. pecten, Gr. = 6J= ,Â= H[=3Dkteis]), as used for combing the hair, but not for wearing upon the head, are found in Pompeian and Egyptian tombs, and in t= he early British, Roman, and Saxon barrows. In the Middle Ages ivory combs w= ere richly carved, and the ceremonial combs for use in ecclesiastical ceremon= ies are especially splendid. Greek and Roman combs were of boxwood; Egyptian combs were of ivory. Uncombed hair was a general sign of mourning. (See DISCERNICULUM.) Fig. 185. Ancient Carved Ivory Comb.(1883m1)<= /o:p>

<= /o:p>

$H Combine. <= /h1>

Combine. When objects of various kinds arrange themselves by the artist's judgment into a good pictorial form, they are = said to combine well. A naturally picturesque scene is also similarly termed. (1855f1)

$H Comet. Heraldry

Comet. (Her.) A star= with a fiery tail. The star may have five or more points, and the tail always streams behind it in bend. A comet is usually blazoned or, but may be equally well blazoned = proper. ILLUS. comet(1891= a1)

<= /o:p>

$H Commagene.

Commagene. The name given in later history to the di= strict of Kummuha, which see. (1876c1)

$H Commentaculum.

Commentaculum. (from= commento, to strike on the face). A staff or wand carried in sacred processions by the Roman priests to assist them in clearing a way and preventing the people = from pressing in on them too closely. Commotaculum was also used.(1883m1)<= /p>

$H Commerce. Egypt

Commerce. See TRADE.(1902b1)

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

Commissatio (from commissor, to revel). A revelling or feasting which began a= fter the COENA (q.v.), and lasted far on into the night. (See SYMPOSIUM.)(1883= m1)

$H Commission.

Commission. A work o= f art is said to be executed on commission= . or is called briefly a commission, <= /i>when it is ordered by a collector, a municipality, or by the state, and has to conform to certain conditions laid down in advance.(1891a1)

$H Commistio or Commixtio.

Commistio or Commixtio. Chr. The placing of a portion of the bread into the chalice of wine, during the ceremony of consecration.(1883m1)

$H Common‑house.

The part of a monast= ery in which a fire was kept for the monks during winter.(1883m1)

$H Common‑place. <= /h1>

Said of works of art= in which the figures lack distinction either in line or colour, or in the choice of subject.(1891a1)

Common-place. Deficient in original or refined ideas. (1855f1)<= /p>

$H Common Wall. Architecture

Common Wall. (Arch.)= A wall which serves to divide two adjoining properties, and half of which belong= s to each of the proprietors.(1891a1)

$H Communicales.=

Communicales. Chr. Communion vessels,= made especially to be carried in procession in Rome.(1883m1)=

$H Compartments.

Compartments in a picture or design, are those separate groups or incidents which help the general design, but are also = in some degree complete in themselves. (1855f1)

$H Compass. <= /h1>

Compass. In Music, t= he whole range of sounds capable of being produced by a voice or instrument.(1883m= 1)

Compass. An instrume= nt used to measure dimensions or describe curves. Compasses, generally of metal, consist of two branches or legs, joined by a rivet at the top, and terminating at their lower end in a point. One of these points is movable= and can be replaced by a drawing‑pen or pencil‑case. Large compas= ses of wood are used to trace diagrams. Sculptors sometimes use large compass= es of iron, the two branches of which move on an arc of a circle, sometimes compasses with unequal and crooked branches which allow them to take the measure of concave surfaces. ILLUS. compass(1891a1)

<= /o:p>

--- $H Compasses, Elliptic.

Compasses the purpos= e of which is to trace elliptic curves.(1891a1)

--- $H Compasses, Sector. &= nbsp;

Compasses consisting= of two branches connected by a movable button, each branch terminating in a poin= t. ILLUS. compasse(1891a1)

<= /o:p>

--- $H Compasses, Spherical.

Compasses with curved branches.(1891a1)

--- $H Compasses, Triangular.

Directors, or Triangular Compasses. A mathematical instrument adapted for taking th= ree angular points at once.(1883m1)

--- $= H Compasses, Trisection.

Compasses which are = intended to divide angles into three equal parts.(1891a1)

--- $H Compasses with fixed points.

Compasses both branc= hes of which are sharpened to a point and which only serve to take the measureme= nts of a drawing.(1891a1)

$H Compass‑headed. Architecture

Compass‑headed. Arch. A semicircular arch.(1883m1)

$H Compass Roof or Compass‑roof. Architecture

Compass Roof, Arch. An open timber roof.(1883m1)

Compass‑roof. = (Arch.) A roof which extends the whole width of a building from one wall to the other. It is used in opposition to a lean‑to roof, and is especially applied to open timber‑roofs. [Span Roof.](1891a1)

$H Compass Window. Architecture

Compass Window. Arch= . A bay‑window on a circular plan.(1883m1)

$H Compes.

Compes. (1) A ring o= f gold or silver worn by the Romans round the leg, just above the ankle.

(2) The chains or sh= ackles worn round the ankle by slaves or prisoners.(1883m1)

$H Competent.

Competent. An amateu= r, collector, critic, or expert is c= ompetent when special studies added to natural taste have rendered him capable= of a sound judgment and appreciation of works of art.(1891a1)

$H Compitalia, Compitales.

Compitalia, Compitales. A festival held by the Romans in honour of the = Lares compitales, celebrated in the cross‑roads, compitia, where the images of those deities were often placed in niches.(1883m1)

$H Complement.

Complement. Her. App= lied to the moon, when full.(1883m1)

Complement. In Music= , the interval to be added to another interval to make an octave; e.g. a third = to a sixth; a fourth to a fifth, &c.(1883m1)

$H Complementary (Colours). [See also Accidental Colour - Editor]

Complementary. Two <= span class=3DSpellE>colours are said to be complementary to one another= , when their combination, according to the laws of optics, produces white. Thus,= red is the complementary colour of green, while b= lue has orange for its complementary colour, viol= et yellow, and reciprocally.(1891a1)

Complementary Colours. If the whole of the light which is absorbe= d by a coloured body were reunited with the whole of= the light which it reflects, white light would result; in this case the absor= bed colours are complementary to those which are reflec= ted. The colour given by a mixture of the colours of any portion of a spectrum is the complem= ent of the remaining portion. Red is complementary to Green, Orange to Blue, Greenish Yellow to Vi= olet, Indigo to Orange Yellow, and, in each case, vice versâ.(1883m1)

$H Completorium.=

Completorium. Chr. The last of the Hours of Prayer.(1883m1)

$H Complex.

Complex. A term appl= ied to works of art comprising several distinct elements, the composition of whi= ch requires the union of qualities generally very diverse.(1891a1)

$H Complicated.

Complicated. A term = applied to works of art or compositions which are confused and embarrassed, or encumbered with too great a mass of details or accessories, and which aim= at expressing too subtle motives.(1891a1)

$H Compline.

Compline. Chr. Short evening pray= ers completing the daily round of devotion prescribed by the Hours of Prayer.(1883m1)

$H Compluvium. Architecture

Compluvium. (Arch.) = In a Roman house the compluvium was the open space= in the roof of the atrium (q.v.), through which the water fell into the impluvium (q.v,).(1891a= 1)

Compluvium. R. An op= ening in the roof of the atrium, furni= shed with gutters all round, which collected the rain‑water from the roo= f, and conveyed it into the basin (impluvium) in the middle of the atrium.(1883m1)

Compluvium. (Lat.) The open roof of the atriu= m of a classic house, which sloped toward the impluvium in its centre, which received the rain-water. (1855f1)

$H Compon‑covert.= Old English

Compon‑covert. O.E. A kind of lace.(1883m1)

$H Compony, or Gobon= y.

Compony, or Gobony. = A term applied to a border or other ordinary divided into small squares of alter= nate tinctures. For example, the accompanying cut would be blazoned argent, a bend sinister, compony gules and sable. ILLUS. compony(1891a1)

<= /o:p>

$H Compose. <= /h1>

Compose. To compose is to combine the numero= us elements of a work of art, so that the subject is presented in a manner w= hich is easily intelligible, and that the arrangement of the figures, the disp= osition of the groups, the equilibrium of masses, and the light and shade produce= a general effect of graceful lines and harmonious colo= uring, which contribute to the unity of the work.(1891a1)

$H Composite. Architecture

Composite. (Arch.) An order of ancient architecture,= the character of which is specially determined by the capital composed of vol= utes and acanthus leaves, and produced by the combination of the Ionic and Corinthian capital.(1891a1)

Composite Order of Architecture. The last of the f= ive Roman orders, composed of the Ionic grafted upon the Corinthian order. The examples at Rome are in the arch of Septimus Severus, the a= rch of the Goldsmiths, the arch of Titus, the temple of Bacchus= , and the baths of Diocletian.

Fig. 186. Capital of the Composite Order.(1883m1)

<= /o:p>

$H Composition.

Composition. (Arch.)= The composition of a statue or picture is good or bad in proportion as the li= nes and groups are happy in arrangement, the attitudes are probable, and the scene free and unstudied. A view of a town, for instance, composes well when the successio= n of buildings exhibits a graceful and picturesque outline. A landscape is wel= l composed when the trees, the distances, and the foreground represent masses well weighted and pleasant= to the eye.(1891a1)

Composition. The general structural arrangement of a work of Art. This word expresses = the idea of a whole created out of single parts, and to this idea the whole o= ught to conform. In the whole there ought never to be too much or too little, = all parts must be necessary, and must refer to one another, being understood = only under such relationship. This does not imply that every part must be co-ordinate; some parts must be of more importance than others, and all m= ust be subordinate to a centre point, which raises them, while it is raised by them. This quality, which is seen in natural landscape, we call organism; we desire to produce i= t in Art, and require pictures to be o= rganic. This is valid as well in simple composition as in compound, which, as a composition of compositions, represents many wholes. All this, though not attained, is at least attempted by those who call themselves artists. The following is less acknowledged, but not less important, viz., every COMPOSITION consists of three elements, whose one-sided predominance in painters and connoisseurs produces three schools of error; while the ferv= ent working together of these elements alone makes the work a living whole, a= nd gives it that which is expressed by the Latin word compositio - a quieting, satisfying effect. The artist's subject furnishes the first element. Every subject has its own law of representatio= n, which the artist must clearly understand, if he would depict it truly upon the canvas. This comprehension is to be acquired only by his forgetting himself in the contemplation of = his subject. It is the power of doin= g this which we prize so highly in poetry under the term abstraction. For the highest laws are equally peremptory in e= very Art; so in plastic Art, that is true which, apparently paradoxical, was s= aid of music, "that the musician does not carry the composition through,= but the composition the musician." By thus treating the subject, the art= ist becomes a splendid organ, through which Nature speaks like a history to s= entient man: thus followed out, the majesty of Rome in Rubens, and the cheerfulness of nature in Claude, = are conveyed to posterity. * The= second element of COMPOSITION is= fixed by the given space which is to be filled by colour, form, and light, harmonised according to the laws of Art; then a history adorning a space becomes the property of Art. = 224; The third element lies in the= mind of the artist; as "woman's judgment is tinged by her affections,&quo= t; so the artist who cannot imbue his subject with his own feelings will fai= l to animate his canvas; for, though every legitimate subject dictates the law= s of its representation, yet every cultivated man sees objects in his own ligh= t, and no one may say that he alone sees rightly. A law or rule finds many exemplifications. A thousand poets have sung of the soft shade of the linden-tree, yet each has sung it differently. Is the artist to be blamed who gives forth the holy memory of his best h= ours in the creations of his pencil, if he clothes the work of his hands with = the hues of his feelings? He who feels, touches the fee= lings of others; and how can that exhibit nature which does not proceed from nature? He who knows not how to give that to his pictures by which they become, not from manner, but from subject, his pictures, is no artist, but a mere copyist, even could he imitate Phidias or Scopa= s perfectly. Excess of individualism leads the artist to depict himself instead of the subject, to sacrifice this to a favourite caprice, and, in allegorising his own dreams; to confuse the ac= tion as well as the spectator; but if he represent it truthfully, working it w= ith pictorial effect, and stamping it with his genius, he has composed, and his work is comple= ted, satisfying all requisitions.

* The artist will a= lso try to include in his plan the wh= ole subject, whether nature or history, so that the spectator, easily understanding it, may be capable of judging and feeling it. But he must be aware that there are two kinds of completeness and breadth, and that an object may be exhausted by being made clear. To find the essential of an event or a poem, and to condense it in pictorial fiction, has difficulties which need not be discussed here. Those who are ruled by this element of = the subject, mistake the boundaries of their Art; they would make the canvas express the poem or the history, or, if connoisseurs, they would see it expressed. An example of this one-sidedness is afforded by the ancient ma= nner of representing two succeeding actions in one space.

† The works = left by the ancients prove that they understood this maxim, and practised it; and Goethe, who regarded them as triumphant in Art, proved its existence in the Laoco= on, and represented this painful group as a splendid ornament. It is certain = that the most touching or important action does not speak to us from the canvas unless treated pictorially; on the other hand, diffusion in space is possible, so as to sacrifice the essential points of the subject in favou= r of a harmony of colour flattering to the eye - accustomed to it in academic works - but really derogatory to character. (1855f1)

<= span class=3DGramE>Compotier.

Compotier. (Fr.) A shallow ornamental dish, in which preserved or stewed fruits are brough= t to table. (1855f1)<= /p>

$H Compound Arch.

Compound Arch. Arch.= A usual form of mediaeval arch, which "may be resolved into a number of concentric archways, successively placed within and behind each other.&qu= ot; (Prof. Willis.)(1883m1)<= /o:p>

$H Compounded Arms. Heraldry

Compounded Arms. Her. Bearings of two or more distinct coats combined, to produce a single comp= ound coat.(1883m1)

$H Compound Pier, Arch. A clustered COLUMN (q.v.). (1883m1)=

$H Comus.

Comus (Gr. 6ä:@H[=3Dkomos]). <= /o:p>

= (1) A revel, or carousal which usually ended in the guests parading the streets= crowned with garlands, &c.

(2) Festal processio= ns instituted in honour of Bacchus and other god= s, and of the victors at the games.

(3) Odes written to = be sung at such processions, e.g. those of Pindar.(18= 83m1)

Comus (Gr. 6@::ÎH[=3Dkommos], from <= /span>6`BJT[=3Dkopto], to stri= ke).

(1) A beating of the= head and breast in lamentation; a dirge.

(2) A mournful song = sung in alternate verses by an actor and a chorus in the Attic drama.(1883m1)

$H Coma.

$H Comatorius or Comatoria.

$H Combattant.

$H Comb.

$H Combine. <= /h1> Combine. When objects of various kinds arrange themselves by the artist's judgment into a good pictorial form, they are = said to combine well. A naturally picturesque scene is also similarly termed. (1855f1)

$H Comet. Heraldry

$H Commagene.

$H Commentaculum.

$H Commerce. Egypt

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

$H Commission.

$H Commistio or Commixtio.

$H Common‑house.

$H Common‑place. <= /h1> Said of works of art= in which the figures lack distinction either in line or colour, or in the choice of subject.(1891a1) Common-place. Deficient in original or refined ideas. (1855f1)<= /p>

$H Common Wall. Architecture

$H Communicales.=

--- $H Compasses, Elliptic.

--- $H Compasses, Sector. &= nbsp;

--- $H Compasses, Spherical.

--- $H Compasses, Triangular.

--- $= H Compasses, Trisection.

--- $H Compasses with fixed points.

$H Compass‑headed. Architecture

$H Compass Roof or Compass‑roof. Architecture

$H Compass Window. Architecture

$H Compes.

$H Competent.

$H Compitalia, Compitales.

$H Complement.

$H Complementary (Colours). [See also Accidental Colour - Editor]

$H Completorium.=

$H Complex.

$H Complicated.

$H Compline.

$H Compluvium. Architecture

$H Compon‑covert.= Old English

$H Compony, or Gobon= y.

$H Composite. Architecture

$H Composition.

$H Compound Arch.

$H Compounded Arms. Heraldry

$H Compound Pier, Arch. A clustered COLUMN (q.v.). (1883m1)=

$H Comus.

$H Combine. <= /h1>

Combine. When objects of various kinds arrange themselves by the artist's judgment into a good pictorial form, they are = said to combine well. A naturally picturesque scene is also similarly termed. (1855f1)

$H Common‑place. <= /h1>

Said of works of art= in which the figures lack distinction either in line or colour, or in the choice of subject.(1891a1)

Common-place. Deficient in original or refined ideas. (1855f1)<= /p>