$H Concaedes.

Concaedes. A barrica= de constructed of trees which have been cut down and placed across the road = (to impede the enemy's march).(1883m1)

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

Concamerate. Arch. T= o arch over; to vault.(1883m1)

$H Concave. <= /h1>

Concave. Hollowed in; opposed to convex, bulging out.(1883m1)

Concave. Curved inwards. (1855f1)

$H Concentration of Effect. <= /h1>

Concentration of Effect. An arrangement of light and shade by means of which the artist attempts to d= raw attention to one particular spot in preference to other portions of his picture, which are intentionally neglected or sacrificed.(1891a1)

$H Conception.

Conception. The facu= lty of conceiving, understanding and creating a work of art. We say, for instanc= e, that the conception of a picture is bold, happy, or undeveloped, &c.(1891a1)

$H Conch.

Conch. The shell use= d by the Tritons on ancient paintings and reliefs; hen= ce in decorative art an ornament resembling the shell in shape.(1891a1)

Conch. The sonorous shell used by the Tritons as= a horn in antique representations of triumphs of sea-gods, &c. See BUCC= INA and MUREX. (1855f1)

$H Concha.

Concha. (lit. a musc= le or cockle).

(1) A shell or shell= ‑fish.

(2) A Triton's conch= . In works of art, the Triton, or sea‑god, has for a trumpet the buccina, remarkable for a spiral twist, long and straight; or the murex, equally twisted, but short and wide‑mouthed.

(3) The term was app= lied, by analogy, to various objects having the shape of a shell, such as cups or vases used for holding perfumes or for other purposes. =

(4) In Architecture,= an apse, or a plain concave of a dome, is so called.(1883m1)

$H Conchoid.

Conchoid. A mathemat= ical curve in the form of the outline of a shell.(1883m1)

$H Conclave.

Conclave (with a key= ), Chr.

(1) A meeting of car= dinals assembled to elect a pope; and

(2) the hall or apartment in which such meeting is held. The institution of the conclave dates from Gregory X.(1883m1)

$H Concrete.

Concrete. Arch. A mi= xture of gravel, pebbles, or broken stone with cement.(1883m1)

$H Condalium.

Condalium (6@<*b84@<[=3Dkondulion], dimin. of 6`<*L8@H[=3Dkondulos], a kn= ob or joint). A ring generally worn upon the first joint of the forefinger on t= he right hand.(1883m1)

$H Conditivium, Conditorium.

Conditivium, Conditorium. (1) An underground vault in which were chests or coffins for holding bodies w= hich had not been reduced to ashes.

(2) A sarcophagus in= which the body was placed.

(3) A kind of arsena= l or magazine in which military engines were kept.(1883m1)

$H Condrak. Old English

Condrak. O.E. A kind= of lace.(1883m1)

$H Conduit. Architecture

Conduit. (Arch.) A s= mall aqueduct or pipe to drain off water.(1891a1)

$H Condyle and Condyloid.

Condyle. A knuckle; the rounded end of a bone; hence &= #8211; Condyloid. Shaped like a condyle; and Condylus. Synonym of CONDALIUM (q.v.).(1883m1)=

$H Condylus. Synonym of COND= ALIUM (q.v.). (1883m1)

$H Cone. <= span style=3D'mso-spacerun:yes'> See F= UNERARY CONES.(1902b1)

Cone. A pyramidal figure on a circular base. (18= 55f1)

Cone. A peculiar kind of headdress in the shape of a= cone was often used by the Egyptian women of high rank under the XVIIIth and X= IXth dynasties. These ornamental cones were generally painted in white or yell= ow, and were often decorated with wreaths of flowers. The head-dress has been supposed to have a religious as well as a state significance, inasmuch as= in the paintings in the tomb of Khaemha, a priest is represented as placing = one of these cones on the head of a functionary who is being introduced to Ki= ng Amenhotep III. (Pierret.) (1876c1)

A figure broad and r= ound at the base, tapering upwards regularly towards a point.(1883m1)<= /span>

A solid figure forme= d by the rotation of a right‑angled triangle round one of its sides as axis.= The term cone of light is applied= to the divergent rays of light escaping from a very small circular open open= ing. ILLUS. cone(1891a= 1)

$H Coney.

Coney, Cony. O.E. (1= ) A variety of the rabbit. (2) A beehive.(1883m1)

$H Confessio.

Confessio. Chr. Originally the pla= ce where a saint or martyr was buried; thence the altar raised over his grav= e; and subsequently the chapel or basilica built there.(1883m1)

$H Confessional. Architecture

Confessional. (Arch.= ) A kind of enclosed retreat devoted to confession, the use of which does not go farther back than the 15th century. In the 17th and 18th the confessional= was an important element in the interior decoration of churches. There is no specimen of a confessional left in England which belongs to the period before the Reformation, and therefore we are unable to say what fo= rm it took in this country in early times. In those parts of the Continent w= here catholicism reigns, confessionals are as a rule unpretentious structures of wood resembling sentry‑boxes, and fitted with a lattice. Some churches in Belgium<= /st1:place> possess confessionals of wood decorated by caryatides and covered with sculptured canopies marvellously rich in orna= ment.(1891a1)

Confessional. The seat for a priest in the Catho= lic church, where he hears the confession of a penitent, who kneels in another recess, forming part thereof, and communicates through a small aperture. = In Flanders, such structures are highly enriched by = wood carving. (1855f1)

$H Configuration.

Configuration. The boundary line of a figure. (1855f1)

$H Confused.

Confused. Said of a picture badly arranged as a composition, or with light and shade badly distributed. (1855f1)

$H Congé.=

Congé. Arch. = The cavetto (hollow moulding) which unites the base and capital of a column to its shaft.(1883m1)

$H Congius.

Congius (deriv. doubtful). A Roman measure containing six sextarii or twelve heminae= . It was used especially for measuring liquids. Angl. a pint and a half.(1883m1)

$H Conical.

Conical. That which = has the form of a cone.(1891a1)

$H Conic Sections.

Conic Sections. Curv= es formed by the intersection of a c= one and a plane; the circle, the = ellipse, the hyperbola, and the parabola.(1883m1)

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

Conisterium. Gr. and= R. A room in which wrestlers, after having had oil applied to their bodies, we= re rubbed over with fine sand (6`<4H[=3Dkonis]). The conisterium was an appendage to a palaestrum, gymnasium, &c.(1883m1)

$H Connoisseur.

Connoisseur. A term = applied to a man capable of giving a certain and well‑grounded judgment on = one branch or other of the fine arts.(1891a1)

Connoisseur. (Fr.) One who is cognisant of the true principles= of Art, and can fully appreciate them. He is of a higher grade than the amat= eur, and more nearly approaches the artist, whose rule of action he is familiar with, but does not practise. The CONNOISSEUR is "one who knows," as opposed to the DILETTANT, who only &q= uot;thinks that he knows." Thes= e two distinctions are often confounded; hence the latter, being the most numer= ous and dogmatic, hold the sway in what is popularly considered to be CRITICI= SM in Art, much to the prejudice of artists and of Art itself. The CONNOISSE= UR is the true friend of Art; he judges of works from their intrinsic excellence, regardless of the influence or bias of popular names upon the indiscriminating crowd. He is prompt to recognise, seek out, and foster genius in its early struggles and obscurity, = and help it to occupy that position too frequently usurped by the pretender, = who, pampering the imperfect or perverted taste of the crowd, obtains an ephem= eral reputation to be succeeded by future neglect. The qualities necessary to constitute a CONNOISSEUR are - a natural feeling for Art, a keen perception, and a sound judgment. By study and observatio= n he has become familiar with the technics of Art,= the manner and method of various schools and masters. He has no prejudices or predilections; hence he is impartial. He can appreciate defects as well as merits, and distinguish an original from a copy. The retouchers and repainters are his abomination. Painters are seldom good general connoisseurs. (1855f1)

$H Conopeum. [See Canopium<= /span>]

$H Conops [See Canopus]

$H Conosconcoleros.

Conosconcoleros. A title erroneously applied by the = Greek historians to the king Assurbanipal. It is a corruption of Kunusskunkilas= sur, "I the King, Vicegerent of the god Assur," a usual Assyrian tit= le. (1876c1)

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

Consecratio. R. A kind= of apotheosis or deification by which a mortal was enrolled in the number of= the gods. It was unknown under the republic, and was only instituted in the t= ime and on behalf of the emperors. The ceremony was solemnized in the Field of Mars, and with the greatest splendour. A magnificent pyre was raised, from the top of which, when kindled, an eagle was let fly, which was supposed to carry up to the skies the soul of the deified emperor. Fig. 187, taken from a medal, represents one of these py= res. =

Fig. 187. Consecrated pyre on Roman medal.(1883m1)

<= /o:p>

$H Consentiae.

Consentiae. Gr. and = R. Festivals held in honour of the twelve princi= pal divinities of Rome or Greece.(1883m1)

$H Consignatorium Ablutoram.

Consignatorium Ablutoram. Chr. In early times there were baptisteries near churches, with a place closely adjoining in which to administer the rite of confirmation; it was the pla= ce specially set apart for the administration of this rite that was called <= span class=3DSpellE>consignatorium= ablutorum.(1883m1)

$H Console.

A projecting ornamen= t, in wood or stone, used as a bracket.(1883m1)

Console. (Fr.) An ornamental bracket for the support of a pier-table, &c. (1855f1)

(1) A piece of furni= ture in the shape of a table which is supported by feet, col= onnettes, balustrades, &c., according to the epoch to which it belongs. It generally occupies a fixed place before a window or mirror. The consoles = of the period of Louis XIV. and Louis XV. are masterpieces of decorative sculpture. ILLUS. consol1

(2) (Arch.) A projec= ting architectural motive, which supports still further projecting mouldings, cornices, balconies, &c.; and is gen= erally decorated with volutes at each end, which different curve different directions.(1891a1)

--- $H Console, Reversed.

A console sometimes = employed as a support, but more often to fill a vacant space between two surfaces,= one of which retreats behind the other, and so to connect two architectural members. The lower portion of the console, which is placed vertically, not horizontally, is occupied by a scroll. The reversed console is never foun= d in classical buildings, but only in those belonging to the period of decaden= ce. ILLUS. consol2r(1891a1)

$H Constant White. SULPHATE OF BAR= YTES (q.v.). (1883m1) [See Barytes instead &#= 8211; Ed.]

$H Constellations.

Constellations. Grou= ps of stars, mostly with classical names. Ancient C., forty‑eight formed by Ptolemy in A.D. 150, with two others added by Tycho Brahe; Modern C., fifty‑nine othe= rs since formed, many by Helvetius at the end of= the 17th century. (Rossiter.)(1883m1)

$H Constratum.

Constratum. R. A flooring construct= ed of planks, (See COASSATIO.)(1883m1)

$H Construction.

Construction. The ar= t of employing materials in a building according to their character and qualit= y, so as to combine solidity and convenience.(1891a1)

$H Consualia.

Consualia. R. A fest= ival of ancient Rome held in honour of the god Consus. It was from this festival that the games of the circus took their rise. Livy calls the god Neptunus E= questris. The feast was held with horse and chariot races. Horses and mules did no work, and were crowned with garlands during its celebration. The Rape of = the Sabines took place at the first Consualia.(1883m1)

$H Contabulatio.=

Contabulatio. R. The= long parallel folds formed in any garment of ample size, such as the toga, palla, and pallium.(1883m1)

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

Contignatio. R. (a j= oining together of beams). The woodwork of beams and joists supporting the floor= ing in a building of several stories. The term is also used to denote the flooring and sometimes the story itself.(1883m1)

$H Continuity.

Continuity in design is that governing principle which makes all parts of a subject combine to form a composition which would become imperfect by the abstrac= tion of any portion thereof. (1855f1)

$H Continuous Impost. Architecture

Continuous Impost. A= rch. In Gothic architecture, the mouldings of an arch= , when carried down to the ground without interruption, or anything to mark the impost‑joint. (Newlands.)(1883m1)

$H Contoise.

Contoise. Fr. A flow= ing scarf worn attached to the helmet before 1350. (See COINTISE.)(1883m1)

$H Contomonobolum.

Contomonobolum. R. A= game which consisted in leaping over a wide space by aid of a pole (contus)= which was used as a fulcrum.(1883m1)

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

Contorniate. A class= of antique medals having the contour= , or edge, marked with a deep cut. They generally have monograms on the obverse, and scenes of mythology on the reverse.(1883m1)

Contorniate. A word coined from the Italian, contorno, or the French, contour, signifying the outline = of anything, it describes a class of antique medals which have a deep circul= ar line out all round the edge, like a V-shaped furrow bounding the surface = of the coin. They were never intended as currency, and the Art displayed on = them is generally of an inferior kind. They are thin, always of brass, and the= ir reverses exhibit scenes from mythologic history, &c. They have genera= lly monograms engraved upon the obverse. (1855f1)

$H Contortion.

Contortion. Violent action of an unnatural kind. (1855f1)

$H Contour. <= span style=3D'mso-spacerun:yes'> Fr. Outline.(1883m1)

Contour. An outline = or line which defines a figure or other object, whether drawn or sculptured.(1891= a1)

Contour. (Fr.) The definite line of a figure or other object, or the ideal line formed by position. (1855f1)

$H Contourné or Contournée. Heraldry

Conto= urnée, Her. Facing to the sinister.(1883m1)

Contourné. (Her.) This term is used to describe a charge= which is reversed on the shield, that is to say, placed in a position the oppos= ite to its usual one. Thus animals should always face to the dexter, so that the fish in the cut is contourné. ILLUS. contourn(189= 1a1)

$H Contra.

Contra, in compound = words in music, signifies an octave below<= /i>: contra‑basso, a double bas= s, &c.(1883m1)

$H Contra-Apollon. Egypt

Contra-Apollon. A chief town in the Thebaic nome of = Upper Egypt. (1876c1)

$H Contra-Coptos. Egypt

Contra-Coptos. A chief town in the Tentyrite nome of= the Thebaid in Upper Egypt. (1876c1)

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

Contractura. R. The = tapering of the column, which begins from the upper part of the shaft, and gradual= ly widens as it reaches the base. (See ENTASIS.)(1883m1)

$H Contra-Laton.= Egypt

Contra-Laton. A chief town in the Thebaic nome of Upper Egypt. The town was more anciently called Chnubis. (1876c1)

$H Contralto.

Contralto. It. In Mu= sic, the voice of deepest tone in females, allied to the tenor in men.(1883m1)

$H Contra-Ombos.= Egypt

Contra-Ombos. A chief city in the Apollinopolite nom= e of the Thebaid. It was situated, as its name implies, on the opposite bank of the river Koum Ombos. (1876c1)

$H Contrapuntal.

Contrapuntal. Mus. Relating to COUNTE= RPOINT (q.v.).(1883m1)

$H Contrast (of Colours= ).

Contrast. The opposition of varied forms in sculpture, or colours in painting, which by such juxta-position more vivi= dly express each other's peculiarities. (1855f1)

Contrast. (Paint.) An intentional opposition between several portions of a picture, by reason of which each portion has its proper value and their distinct qualities are sufficiently evident.(1891a1)

Contrast of Colours. When two strips of paper of the same colour but of different intensity are placed side b= y side that portion of the lightest strip which touches the darkest strip appears lighter than it really is, while the portion of the darkest strip which touches the lightest strip appears darker than it is. That is, the juxtaposition of colours changes their effect. Furthermore each colour has a tendency to ass= ume the colour complementary to the colour next to it. The discovery of this law of the simultaneous contrast of colours is due to M. Chevreul<= /span>. There is one remark to add: if two bodies contain a common colour, the effect of their juxtaposition is to wea= ken the intensity of their common element. The laws of optics which regulate = this simultaneous contrast of colours may be formu= lated thus: 1stly. Every colour has a tendency to t= inge the colours near it with its complementary colour. 2ndly. If two objects contain the same colour, the effect of their juxtaposition is to wea= ken the intensity of their common element.(1891a1)

$H Contra-Syene.= Egypt

Contra-Syene. A town in the Apollinopolite nome of the Thebaid, opposite to Syene. (1876c= 1)

$H Contra Votum.=

Contra Votum. Chr. (i.e. against one's desires). A formula of grief, placed by the ancients on tombs, columns, a= nd other sepulchral monuments, and adopted by Christians in the 5th century. (See ACCLAMATIONS.)(1883m1)

$H Contre‑corbeau= . Architecture

Contre‑corbeau. (Arch.) A French architectural term used in the architecture of the 13th century, denoting a medallion replaced between the corbels supporting the springin= g of an arcade and serving as a point of support for two small arches inscribed with the large one.(1891a1)

$H Contre‑imbrica= tions.

Contre‑imbrications. An ornament cut in the form of fishes' scales overlapping one another, the scales being indented. In the= imbrications they stand out.(188= 3m1)

$H Contrepoint.<= span style=3D'mso-spacerun:yes'> O.E. (See POURP= OINT.) (1883m1)

$H Contubernium.=

Contubernium. R. (1)= A tent capable of accommodating ten soldiers and their corporal (decanus).

(2) A dwelling‑= ;place, especially for slaves. Hence contubernales came to mean comrades, and generally per= sons living in intimacy under one roof together.(1883m1)

$H Contus.

Contus (6@<JÎH[=3Dkontos]), Gr. a= nd R.

(1) A punting‑= pole, used also for taking soundings; each trireme was furnished with three pol= es of different lengths.

(2) A cavalry pike or lance.(1883m1)

$H Conus.

Conus Gen. (<= span style=3D'font-family:"WP Greek Courier";mso-ascii-font-family:"Times New = Roman"; mso-hansi-font-family:"Times New Roman";mso-char-type:symbol;mso-symbol-f= ont-family: "WP Greek Courier";mso-no-proof:no'>6ä<@H[=3Dkonos], a cone)= .

(1) In general, any = object of a conical form.

(2) A kind of sun= 209;dial described upon a hollow cone.

(3) The metal ridge = at the top of a helmet, to which the plume was attached. (See Fig. 252.)(1883m1)=

$H Conventional.

Conventional. A peculiar mode in Art, in contradistinction to the absolutely true and natural. (1855f1)

$H Convex.

Convex. Curved outward. (1855f1)

$H Convivium.

R. A banquet which g= enerally took place at about the same hour as the coena, but which was never followed by a commissatio. (See COENA, COMMISSATIO.)(1883m1)

$H Cony. [See Coney]

$H Co‑operator.

Co‑operator. A= n artist who assists in the execution of a work of decorative art, but takes no pa= rt in its creation.(1891a1)

$H Coopertorium.=

Coopertorium. R. (th= at which covers). A rug of coarse cloth; a kind of blanket.(1883m1)

$H Cop. Old English

Cop. O.E. Generally = the top of anything; a mound or heap. (See BATTLEMENT.)(1883m1)=

Cop. (Arch.) [See Merlon.](1891a1)

$H Copaiba, Copaiva.

Copaiba, Copaiva. A kind of turpentine or oleo-resin, = of an amber colour, obtained from the West Indies and Brazil. Being destitute of oxygen, it readily attracts it from the atmosphere, and dries into an excellent varnish, for which purpose it is sometimes used, as well as for= a VEHICLE. (1855f1)

$H Copal.

Copal. A hard resin,= which, dissolved in boiling linseed oil, forms an excellent varnish for pictures= . It is also used as a vehicle for painting. The South African copal is the fi= nest in quality. (See VARNISH.)(1883m1)

Copal. A hard resin, the product of a tree growing in India and Africa, used in making varnishes; it is of a tawny yellow colour, transparent, and vitreo= us, without taste or smell, and is nearly as hard as AMBER. The copal varnish, employed in painting from a very early period, is the resin dissolved in boiling linseed oil. Turpentine will dissolve this resin, though with difficulty. Copal varnish, as well as amber varnish, has been extensively employed as a VEHICLE in oil painting. *

* See Materials for= a History of Oil Painting, by C. L. Eastlake; THEOPHILUS, Arts of the Middle Ages, by Hendrie; Mrs. Merrifield's Ancient Practice of Oil Painting, &c. (1855f1)

$H Copatain. Old English

Copatain. O.E. A sug= ar‑loaf hat; "a copped‑crown hat."(1883m1)

$H Cope. 1. Architecture; 2. Costume

Cope. Arch. To top a= wall with thin bricks or stone.(1883m1)

Cope. Chr. A sacerdotal garment, also called a pluvial, because it was original= ly worn by priests in processions as a protection against the rain. It was o= pen in the front, and fastened on the breast by a "= morse" or clasp. In the primitive Church the cope was furnished with a hood, and hence mentioned as CUCULLA.(1883m1)

Cope. An ecclesiasti= cal vestment generally made of a = stiff and costly material and ornamented with embroideries or jewels. It is semicircular in form and has a hood but no sleeves. It was originally a protection against inclement weather and was worn by officiating clergy at vespers, mass, celebration and consecration. It was fastened by a clasp a= nd adorned with apparels (q.v.) richly embroidered and even resplendent with= jewels. ILLUS. cope(1891a= 1)

Cope. An ecclesiastical vestment, like a cloak (which it originally was, and us= ed to protect the wearer from the inclemency of the weather), worn in processions, at vespers, during the celebration of mass, by some of the a= ssistant clergy, at benediction, consecration, and other ecclesiastical functions.= Its form is an exact semicircle, without sleeves, but furnished with a hood, and is fastened across the breast with a MORSE or clasp. COPES were ornamented with embroidery and jewels (APPARELLS, ORPHREYS), wrought with elaborate splendour, at a very early period. In the thirteenth century they became the most costly and magnificent of all the ecclesiastical vestments. * FIGURE

* See Pugin's Glossary of Ecclesiastical Ornament and Costume. Our engraving is copied from = the monumental brass of a priest of the fourteenth century, as engraved by Waller.(1855f1)

$H Coperone. Old English Architecture

Coperone. O.E., Arch= . A pinnacle.(1883m1)

$H Cop‑halfpenny. Old English

Cop‑halfpenny. O.E. The game of "heads and tails."(1883m1)

$H Cop‑head. Old English

Cop‑head. O.E.= A crest of feathers or hair on an animal's head.(1883m1)

$H Coping. Architecture

Coping. Arch. The ca= pping or covering of a wall, generally sloping to throw off rain. In Fig. 77 two of the merlons are coped.(1883m1)

Coping. (Arch.) A te= rm given to the stones on the top of a= wall, which protect it from the weather. From the stress of weather to which th= ey were exposed, ancient copings are extremely rare, and few have come down = to us earlier than the Early English period. In buildings belonging to the Gothic period, a coping in the form of a small wall supporting a roof is placed behind a balustrade which runs along by a gutter, as is shown in t= he cut. ILLUS. coping(189= 1a1)

$H Cophinus.

Cophinus. Gr. and R.= A large shallow wicker basket used for agricultural purposes. Cophinus et foenum, "a basket of hay," is Juvenal's word for the poor man's bed. Compare English coffin.(1883m1)

$H Coppa Puerpera.

Coppa Puerpera. It. = Caudle‑cup.(1883m1)

$H Coppe (It.), Cups (Sp. copa).

Coppe (It.), Cups (Sp. copa). The early Italian suit of playing cards corresponding to hearts. The = Rev. E. S. Taylor suggests, &quo= t;The notion of hearts, as the seat of the affections, &c., is in connexion with the office of the clergy;" hence the chalices. (See COEUR.)(1883m1)

$H Copped. Old English

Copped. O.E. Crested= . (For COP‑HEAD, q.v.)(1883m1)

$H Copper.

Copper. A metal whic= h has proved of the greatest value in the arts. In the first place it was used = by the ancients in the manufacture of shields, swords, vases, &c. In mod= ern times it has been of the utmo= st service to engravers, and still remains from an artistic point of view the best metal both to wor= k upon with the burin and to print from. The oxides of copper yield a number of = fine pigments, such as blue verditer and Brunswick green.= (1891a1)

Copper. The copper used by the Egyptians in the making of their bronze came chiefly f= rom the Wady Maghârah<= /span>, in the peninsular of Sinai. Many traces of ancient mining operations have been found among the rocks of this district. (See BRONZE.)(1902b1)

Copper. A metal which obtains its name from the extensive mines worked by the anc= ient Greeks in Cyprus. Its malleable properties gave it an early value in the manufacturing Art,= and swords, shields, helmets, musical instruments, vases, &c., were fabricated from it by the nations of antiquity. As a colour, the oxides of copper have been employed from an early period. Its combinations with aci= ds and oxides give rise to a great number of pigments. The greens were well known to the Greeks, and have been described by Theo= prastus. The blues employed in the baths of Titus were all of them an oxide of cop= per, mixed with alumina and lime. In modern times, blue v= erditer, Brunswick green, verdigris, and emerald or Scheele's green, are the principal greens formed fr= om copper; it enters also into the composition of Prussian brown and Spanish= ferreto= , as well as being greatly used in the manufacture of bronzing powders. In giv= ing colour to glass, this metal is of the greatest importance. It has been extensively used by engravers for book-plates, until the introduction of steel plates, which, admitting the action of acid much more freely, and wearing less in printing when the plate was completed, has in some degree superseded its use. It is pleasanter, however, to the action of the burin= . (1855f1)

$H Copperas.

Copperas (white) is considered the safest metallic dr= ier for pigments and varnish.(1883m1)

$H Copper‑enamelling. (See ENAMELS.) (Fig. 188)

Fig. 188. Ewer and= basin of enamelled copper (Turkish).(1883m1)

$H Copper‑plate. Engraving

Copper‑plate Engraving. (See CHALCOGRAPHY.)(18= 83m1)

(Engrav.) A plate of red copper, planed and polished, with its edges bevelled and its corners slightly rounded, upon whi= ch engravers execute their work. The term is often applied to the completed work; thus we speak of a "successful copper‑plate" in referring to the engraving itself.(1891a1)

--- $H Copper-plate Printing.

Copper-Plate Printing. The art of transferring to paper the engraver's art upon copper. The lines of an engraved copper (or steel) plate are filled with a viscid ink, which is wiped from the surface with the palm of the hand, and a lit= tle whiting; it is then placed in a rolling-press, paper laid on it, and so passed under the cylinder, when the ink is deposited in the lines. * India-paper proofs are taken = by laying the damped sheet of thin India-paper upon the ordinary plate-paper, its surface being previously roughened by a brush, when the pressure caus= es sufficient adherence.

* For some account of the origin of the Art, see NIELLO. = (1855f1)

$H Coppet. Old English

Coppet. O.E. Saucy.(= 1883m1)

$H Coppid. Old English

Coppid. O.E. Peaked; referring to the fashion of the long peaked toe.(1883m1)

$H Copple‑crowned= . Old English

Copple‑crowned. O.E. With a head high and rising up, said of a boy "with his hair on end."(1883m1)

$H Coppull. Old English

Coppull. O.E. A hen'= s name (in the Turnament of Tot= tenham).(1883m1)

$H Cops or Merlons. Architecture

Cops or Merlons. Arc= h. The raised parts of a battlement. (See Fig. 77.)(1883m1)

$H Coptic. Egypt

Coptic. Roughly speaking Coptic is the modern survival of the ancient Egyptian language, = and the knowledge of it is invaluable for the study of hieroglyphs. The Coptic characters are modifications of the Greek letters, to which six signs were added from the Demotic, in order that those sounds which had no equivalen= t in Greek could be expressed. There were two dialects - called the “Boheiric,” from Boh&ecir= c;ra, a province in the Delta, and the “Sahidic,” which last was the older and fuller.(1902b1)

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

Coptography. The art= of cutting out pieces of card so that when brilliantly lighted they throw shadows representing figures and objects of all kinds on a white surface.(1891a1)

$H Coptos. Egypt

Coptos. The Greek name= for the city and nome in Upper Egypt, in the Thebaid, East of the river N= ile. Its chief town was Coptos, called by the Egyp= tians Harti. (1876c1)

Coptos. The chief city= of the Coptite nome.= It was situated at the termination of the roads from the Red Sea to the river Nile, and from its early Christian bishopric the Egyptian Christians were named Copts. (1876c1)

Coptos. Greek name for Qebt, capital of the fifth nome of Upper Egypt, the modern Kuft. Chief de= ity, Amsu. It was one of the most important towns of anc= ient Egypt, as it was to this town that the t= rade from Kosseir, on the R= ed Sea, came.(1902b1)

$H Copy.

A reproduction of a = work of art. If a painter copies his own picture, it is dignified with the name o= f a replica.(1891a1)

Copy, To. To make co= pies of pictures or to imitate the works, subjects, and manner of an artist.(1891= a1)

Copy, in= the Fine Arts, is a multiplication or reproduction of a work, whether painting, statue, or engraving, by another band than the original. Its ma= ster copies his own picture, we call it merely a repetition, which the French designate by the term doublette. COPIES are of three k= inds: the most general are those in which the copyist imitates the original with anxious exactitude; in this case, the difficulty of copying is but slight. The second kind is where the copyist avoids exact imitation, but renders = the original freely in its principal traits. These COPIES, exact imitations in style and colouring, are soon seen to be apocryphal pictures. The third a= nd most important kind of COPY is that in which the picture is imitated with= the freedom of a skilful hand, but at the same time with a truthful feeling of the original, and with the inspiration of genius, finding satisfaction no= t in copying, but in an imitation little short of creation. (1855f1)

$H Copyist.

Copyist. An artist w= ho copies or reproduces either for the purpose of personal study or with some other avowed object the work of another artist.(1891a1)=

$H Copyright, Artistic.

Copyright, Artistic. Copyright is a distinct and valuable property recognised by law, and may be defined as the sole and exclusive right of multiplying co= pies of an original work after it has been published. This right is by law ves= ted in the author of an original painting, drawing, or photograph and his ass= igns for the term of the natural life of the author, and seven years after his death, provided that on the first sale of such painting or drawing or the= negative of such photograph the copyright was expressly reserved to the vendor by agreement in writing signed by the purchaser. A register of proprietors of copyright in paintings, drawings, and photographs is kept at Stationers' Hall, and registration is compulsory. In the case of sculpture, the copyright, whether commissioned or not, belongs to the author for fourteen years, provided that before publication he inscribes his name and date on every model copy, or cast, or finished work. If at the end of fourteen ye= ars the proprietor is still living, he may, unless he has divested himself of= the right, retain it for a further period of fourteen years. A registry of sculpture is kept at the Patent Office, and every copy or cast published after registration must be marked "registered." The sculptor, however, cannot protect himself against paintings, drawings, engravings, = or photographs.(1891a1)

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

Coquerelles. (Her.) = A French heraldic term applied to a bunch of three filberts in their husks conjoin= ed together. Coquerelles generally appear in num= ber on shields, for example, three coquerelles gules. ILLUS. coquerel(189= 1a1)

$H Coquetries.

Coquetries. A term a= pplied to elegant scenes, graceful figures, painted in a bright and fresh tone.(= 1891a1)