$H Cos.

Cos. R. A hone, whetstone, or grindstone. Fig. 200= is taken from an engraved gem.

Fig. 200. Cos ‑ a Ro= man Grindstone.(1883m1)

<= /o:p>

$H Cosmetics. Egypt

Cosmetics. Perfumes to give an agreeable smell to the body were much in request, as also different kinds of oils and unguents for rubbing into the skin. "Swe= et oil on their heads and on their new head-dresses" was required on gr= eat festivals by all who could afford it. Cakes of ointment were placed on the heads of guests at feasts, and to be anointed with the oil of Qemi was considered an especial honour. Alabaster pots containing unguent have been found in the tombs. Black and green paint were also in use for the eyes.(1902b1)

$H Cosmi.

Cosmi (6`F:@4[=3Dkosmoi]). The s= upreme magistrates in Crete.(1883m1)

$H Cosmorama.

Cosmorama. An exhibi= tion of pictures representing views of different countries, either in body‑= colour, water‑colour, or oil, and seen through a lens. The first cosmorama was set up in P= aris in 1808 by the Abbé Gazzera.(1891a1)

Cosmorama. A compound word derived from the Gree= k, and used to designate an exhibition of views selected from various parts = of the globe. (1855f1)

$H Cossaeans.

Cossaeans. A Hamitic or Cushite people dwelling in <= st1:place w:st=3D"on">Susiana. They were the the Kossi of the Cuneiform inscriptions. (1876c1)

$H Cosseah. Egypt

Cosseah. The modern name of the Greco-Egyptian town Chusis, which see. (1876c1)

$H Cost. [See Cotice.] (1891a1)

$H Costanti.

Costanti. One of the= Italian literary academies. They had for their device the sun shining on a column, with the motto Tantum volvitur umbra (the shadow only revolves).(1883m1)

$H Costume.

Costume. This term d= enotes in a general sense the clothing, arms, and accessories belonging to the e= poch or place in which the artist has laid the scene of his picture. Thus we s= ay of an artist that he "pays no attention to costume," that he "carefully studies the costume," that "his rendering of costume is admirable."(1891a1)

Costume. The study of costume requires, on the part of the artist, the observance = of propriety in regard to the person or object represented; an intimate knowledge of countries, their history, manners and customs, arts, and nat= ural productions; the vestments peculiar to each class; their physiognomy, complexion, their ornaments, arms, furniture, &c.; all should be conformable to the scene of action and its historical period. Many of the= old masters, and not a few of the modern, have committed some very glaring improprieties in their costume; we may instance Paul Veronese, while, on the contrary, Nicolas Poussin is remarkable for his accuracy in this respect. The observance of correct costume is a great merit in an artist, at the same time it must be subservient to pictorial effect. The subject does not meet with that earn= est attention from artists that its importance demands. We have made COSTUME a special feature in this dictionary, and, in the progress of this present descriptive article, have endeavoured to refer the reader to the best authorities on the subject. We subjoin the titles of a few of the books m= ost valuable for the constant general reference of the artist. 1

1 Hope's Costume of the Ancients, two vol= s. 8vo.; Fairholt's Costume in England, 8vo., 600 woodcuts; = Herbe's Costumes Fra= nçais, folio; Ferrario, Il Costumo Antic= o e Moderno, 4to.; Hefner, Costume du Moyen= Age Chretien, 4to.; = Costumbuch für Kü= ;nstler, 4to.; Pugin's Glossary of Ecclesiastical Ornament and Costume, 4to.

To treat of so extensive a subject as costume within the proper li= mits necessary to a work of the present kind, is to do no more than suggest the great variety it presents, and point out the best sources for further information to those who may require a more minute descriptive account th= an we can pretend to give, for the subject would require volumes where we ha= ve only pages at command. A brief general review will, therefore, be our tas= k, commencing with the ancient nations.

Egyptian monuments give us the earliest representation of ancient life; and so abundant and varied are the scenes exhibited by these antique artists, that we are by their means perfectly conversant with the fashions and modes of life of the people who lived under the rule of the Pharaohs, when Joseph and the Patriarchs were in that land. There is scarcely a scriptural allusion to any circumstance or thing that does not meet with a pictured proof in these remarkable works. The great refinement of life in these ancient days is visible in all the in-door scenes, as well as in the costume of characters moving in the higher circles; an abundance of jewellery, embroidery, and rich colours is visible. Among the poorer clas= ses, that simplicity which still reigns in the East is remarkable, and which restricts the dress to little more than a girdled tunic, longer or shorter according to sex; children going entirely naked. 2 The Jews, and other nations of the same remote era, are occasionally introduced in their sculptures and paintings; and there is a sufficiency of marked character in feature and dress to distinguish them = from their delineators. The sculptures and paintings at B= eni-Hassan, and the representation of the victories of Sesostris= and others of their sovereigns, supply full details on these points.

2 The most abundant information may be found in the great work on Egypt by Rosellini; but as this is a costly book co= nfined to great libraries, the admirable digest of that and all other works on <= st1:place w:st=3D"on">Egypt, by Sir J. G. Wilkinson, combined with his own researches there, may be referred to as amply sufficient. It is entitled, Manners and Customs of the Ancient Egyptians (first series th= ree vols. 8vo.), and is abundantly illustrated with engravings. In the course= of this dictionary many examples may be seen copied from Egyptian originals.=

Ancient Assyria has almost miraculously revived an equal knowledge= of its private life and manners, as well as its public greatness, its expeditions and wars, in the bas-reliefs exhumed within the last few year= s by the persevering efforts of England and France. The national museums of both countries now possess a rich series of works= of Art - the "pictured history" of this remarkable people, whose relics in our European museums might, a few years ago, be included in a single case. The minute truthfulness of their sculptures is most remarkab= le; the smallest portion of dress and its accessories are all delineated with= the utmost care, from an ear-ring to a shoe-tie; and are of the greatest valu= e as pictures of life in Nineveh and Persepolis<= /st1:City>. 3

3 The engravings in= Ker Porter's Travels are the best old authorities f= or the study of those who cannot visit the monuments themselves in the British Museum. But the more modern work= s of M. Botta in F= rance, and Mr. Layard in England, are the most scrupulously correct. Mr. Vaux's Nineveh and Per= sepolis; an Historical Sketch of Ancient Assyria and Persia; a cheap and excel= lent resumé of all that has gone before, ma= y also be consulted; it contains many engravings from the sculptures there disco= vered.

Ancient Gre= ece has left an abundance of authorities to guide the modern artist in his representation of any scene he may choose from its famed history. The numerous works, native and foreign, devoted to their Art will present an abundance of material for the painter's use. The early vases 4 and sculptures 5 furnish many important features; and our own national collection is second to none in this class. Within its walls we may trace= its progress from infancy to maturity; from the rude vase-painting, partaking largely of the grotesque archaism of ancient Egypt, to the sculptures from the Tympanum of the Temple of Minerva at AEgina, and those from the Temple of Apollo at Phigaleia in Arcadia, to the final triumph of Greek Art in the sculptures from the Par= thenon at Athens. It may, however, be noted, that while the earlier artists stri= ctly represented such costumes as constantly met their eye, the later ones occasionally took the liberty of divesting their figures (particularly if male) of some of the body clothing, and at times left the chlamys only upon the figure. 6 The = close alliance between the Grecian and ancient Babylonian and Persian Art may be traced in the series of sculptures discovered by Sir C. Fellowes in Asia Minor, and now known in our British Museum as the "Xanthian Marbles." 7

4 See the works of = Sir William Hamilton, and the engravings by Kirk, Moses, and others, illustra= tive of this subject.

5 Our engraving, p.= 48, is a good example of an early date.

6 See our cut illustrative of that word; as well as CHITON, CANEPHOROS. DIPLOIS, ENCOMB= ONA, PALLA, &c., &c., for further details of Greek costume, which may = thus be found described under their proper names.

7 Engravings of them have been published by Sir Charles Fellowes, = whose descriptive narrative of his discoveries contains also an abundance of information on the ancient and modern inhabitants of that country. The Io= nic trophy monument, as well as the Satrap's sarcophagus, represents the cost= umes of the Persians, as they are also seen on the great mosaic at Pompeii, called = the Battle of Issus.

It is almost superfluous to enter into details here of the easily-obtained examples of Roman costume, which abound in the museums of Europe, and leave nothing to be desired in the way of detail descriptive = of the habits, customs, religious observances, games, battles, triumphs, &c., of this great people. In the course of this dictionary, the read= er will find, under their proper names, concise explanations of the most important portions of costume, arms, and armour adopted by them. To the g= reat works of Montfaucon and other students, we mu= st refer for an abundance of information on all these points. 8

8 Vide Montfaucon's Antiquité Expliquée et Represent&= eacute;e en Figures, ten vols. Folio, 1711-4, a perfect enc= lyclopaedia of ancient Roman life and manners, with hundreds of engravings, selected = from all well-known antiques and continental museums; Boi= ssard, Antiquorum Romanae= , six vols. fol. 1579-1627; Rubeis, Admiranda Romanorum Antiquitates, fol. 1693; Count Caylus, Recueil<= /span> d'Antiquit&eac= ute;s Egyptiennes, Etrusques, Grecs, et Romaines,= seven vols. 4 to. 1752-67; the Museum <= span class=3DSpellE>Capitolinum, the Museo Pio-Clementino, and the works of Winckelmann, Millingen, and Taylor Combe.

The barbaric nations which aided in the fall of Rome, and others w= hich existed at the same period, find their record only on some of their natio= nal antiques; history is somewhat silent on the peculiarities and appearance,= of non-literary countries, and they are, in fact, only incidentally alluded = to, and figured merely as accessories in the works of artists employed to commemorate the deeds of their superiors. 9 Their national antiquities in sculpture are of the coarsest kind, and their peculiarities of dress so rudely delineated, that considerable difficulty still exists in fully comprehending them. The attention, however, awakened of late to primeval investigations by the archaeologists at home and abroad, have dissipated some of the darkness, = but enough mist yet remains.

9 In the coins of R= ome and the sculptures devoted to their victories, we thus find provinces and people personated, and recognize the costume of other countries (see cut = to CHIRODOTA),= but they are sparingly introduced, and we cannot study them "in their ha= bits as they lived" so perfectly as we can the others. =

Of modern countries we may note England as possessing a very large series of national works illustrative of her peculiarities. Strutt, Planché,= and Fairholt 1= 0 are among the literary contributors. The artistic may be comprised in the works of Stothard, Cotma= n, Waller, Gough, Hollis, Boutell, 11 &c., who have devoted themselves to the task of delineating the monumental effigies and incised brasses, which generally afford most valuable information on points of costume not to be found elsewhere - at least, in such minute truthfulness, and to so large a scale. With regard to arms and armour, great information may be gleaned from all these works; but Meyrick and Skelton 12 devote themse= lves to that exclusively.

10 Strutt's Horda Angel-Cynan, a Complete View of the Dress and Habits of the People of England, and Regal and Ecclesiastical Antiquities; Pl= anché's History of British Costume; <= span class=3DSpellE>Fairholt's = Costume in England.

11 Stothard's Monumental Effigies of Great Brit= ain; Cotman's Sepulchral Brasses in Norfolk and Suffolk; Waller's Series of Monumental Brasses; Gough's Sepulchral Monuments; Hollis's continuation of Stothard's work under the same title; Boutell's Monumental Brasses and Slabs,= and his Monumental Brasses of England= .

12 Meyrick's Critical Inquiry into Ancient Arm= s and Armour; Skelton's Engraved Illustrations of the Armoury at Goodrich Court.

France, that arbiter elegantiarum in all the freaks of fashion, find= s its record in many curious books on costume; for general purposes, however, it may be sufficient to refer to the laborious Jesuit M= ontfaucon, Lenoir, and Maillot. 13 The northern countries have fared well in point of notice and delineation, an= d Russia, = Sweden, Denmark, Norway, and Poland 14 have all their native peculiarities pictured forth. Holland meets with abundance of delineation in the= works of its great painters; 15 and Middle Europe, Germany, and Switzerland 16 receive their share of attention in picture-books especially devoted to them. The south-Spain, <= st1:country-region w:st=3D"on">Portugal, and Italy 17 generally, with Greece, Sicily, and the Mediterranean district, have the graceful and gay dresses of its people delineated by able hands. So also has Turkey, Arabia, India, and China; 18 the natives of mod= ern Egypt being as minutely described by our countryman Lane as those of its ancient inhabitants have been by other pens and pencils; thus completing = the cycle of ancient and modern costume; and satisfactorily showing the abund= ance of material at the disposition of the artist who aims at truthfulness in = the delineation of his pictured scenes.

13 Montfaucon's Antiquities de la Monarchie Française; Lenoir's Musée des Monuments = Française; Maillot's Re= cherches sur les Costumes, les Moeurs, les Usages, Religieux, Civils et Militaires, des Anciens= Peuples; a work full of good information concis= ely rendered, the third volume being devoted to French history entirely.=

14 J. A. Atkinson's = Picturesque Drawings of the Manners, Customs, and Amusements of the Russians; Le Prince's Etchings of Russian Costume, &c.; Co= xe and Swinton's Travels; the last three countri= es are illustrated by Weigel in his Neu-eroffnete Welt-Galleria, published at Nur= emberg in 1703.

15 As Teniers, Ostade, Rembra= ndt, Jan Stien, &c., &c.

16 See the woodcuts = by Weigel, of Nuremberg, in 1580, for ancient; and A. = F. Bertand de Moleville's = Costumes of the Hereditary States of= the House of Austria, for modern costume; Chretien de Mechel's Suite de Different Costumes de la Suisse.

17 Manuel de la Cruz= 's Recueil= de plusieurs, Habillements Espagnols<= /i>; the Rev. W. Bradford's Sketches of the Country, Character, and Costume in Portugal and Spain; I. B. Greuze's Di= vers Habillements suivant le= Costume d'Italie; and Stacke= lberg's Drawings of Grecian Costume.<= o:p>

18 Octavian Daluimart's Costume of Turkey; D'Ohsson's Empire d'Othoman; Count Leon de <= span class=3DSpellE>Laborde's Travels; Malcolm's History of Persia; Balthazar Solvyn's Costume of Hind= ostan; George Henry Mason's Costume of C= hina; ditto by William Alexander; and Lord Macartney's Travels. (1855f1)

$H Cotabos. [See Cottabus<= /span>]

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

Cote. O.E. A woman's gown; 15th century.(1883m1)=

$H Cote Armour<= /span>. (See COAT ARMOU= R, TABARD.) (1883m1)

$H Cote‑hardie.

Cote‑hardie. A= tight‑fitting gown; 14th century.(1883m1)

Cote-hardie. (Fr.) The tunic tightly fitting to the body, like the JUPON, as worn by men in = the fourteenth century. The long tightly-fitting gown worn by ladies, with a = row of buttons to the waist, at the same period. (1855f1)

$H Cothurnus. Costume

Cothurnus. (Lat.) A high covering for the foot, reaching to the middle of the leg. See BUSK= IN.(1855f1)

Cothurnus. (Cost.) A= high boot worn by the Romans, reaching to the middle of the leg. It was particularly characteristic of the tragic actor. [Buskin.](1891a1)

Cothurnus. Gr. and R= . The Buskin; a high boot of Greek invention, met with on representations of certain divinities and of some of the emperors covered with rich ornamentation. It is an attribute of the huntress Diana. The sole was thickened with cork for tragic actors, to make them taller. Horsemen wore= it as high as the knee.(1883m1)

$H Cotillion.

Cotillion. (Fr. cotte, = an under‑petticoat). A dance introduced from France, where it usually terminated a ball.(1883m1)

$H Cotice. Heraldry

Cotice. (Her.) A dim= inutive bend. The diminutives of the bend are the bendlet or garter, which= is half the width of the bend, the c= ost or cotice, which is half the bendlet. The riband is sometimes half the cotice, sometimes the same width, but does not extend to the edge of the shield, its ends being couped (q.v.).(1891a1)

$H Cotise. Heraldry

Cotise. Her. A dimin= utive of the Bend, being one‑fourth of its width.(1883m1)

$H Cotised. Heraldry

Cotised. (Her.) When= an ordinary, such as a fess or a bend, is bordered on both sides by a strip = of a different tincture to itself, it is said to be cotised. In the first of our cuts, for instance, we have a bend sinister gules colised sable. But the term is not necessarily confined to the case of two strips, but may also be used to describe any border to a charge. Thus the accompanying cut would be blazoned, Argent, a bend gules cotised with trefoils sable.= 2 ILLUS. cotised1, cotised2(18= 91a1)

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

$H Cotta.

Cotta. A short surplice.(1883m1)

$H Cottabus, Cottabê.

Cottabus, Cottabê, Cotabos. Gr. and R. A game of Greek origin, played = in various manners, by throwing wine into empty cups swimming on a basin of water, or into scales suspended above a bronze ornament. The man who drow= ned most cups won a prize, or he who made the best sound had a good omen. The= re were other methods.(1883m1)

$H Cotyla.

Cotyla. Gr. and R. A= measure of capacity equal to half a pint English.(1883m1)

$H Cotyliscos or Cotyliscus.

Cotyliscus. (Pot.) A= name given to a small Greek vase with one handle. It was used to hold liquids,= and in its general shape resembled an amphora. The latter, however, was doubl= e‑handled, and considerably larger than the cotyliscus. = ILLUS. cotylisc(1891a1)

<= /o:p>

Cotyliscos. (Gr.) A small pot with a single h= andle, in other respects like an amphora= in miniature. ‡ FIGURE

‡ Dennis's Cities and Cemeteries of Etruria. (1855f1)

$H Cotyttia.

Cotyttia (6@JJbJ4"[=3Dkottutia]). Noc= turnal festivals celebrated by the Edonians of Thrac= e in honour of a goddess called Cot= ytto (Cybele).(1883m1)

$H Couchant or Dormant. = Heraldry

Couchant or Dormant. Her. In repose. The illustrat= ion gives the device of King Richard II., a white hart couchant on a mount, &c. (Fig. 201.) Fig. 201. Hart couchant.(1883m1)

<= /o:p>

$H Coucher. Old English

Coucher. O.E. A book= kept couched or lying on a desk, e.g.= books of the church services left in the places where they were used.(1883m1)

$H Coudières. (See COUTERE.)<= /span> (1883m1)

$H Coufic. (See CUFIC.) (1883m1)

$H Coulisse.

Coulisse. Tech. A pi= ece of timber with a channel or groove in it, such as that in which the sideR= 09;scenes of a theatre move.(1883m1)

Coulisse. A groove m= ade in the boards of a stage in which the side scenes are moved along. The term = is also applied to the side scenes themselves, which represent a palace, a cottage, a clump of trees, &c. ILLUS. coulisse(1891a1)

<= /o:p>

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

Her. Reversed or opposite.(1883m1)

$H Counter‑changed.

Counter. (Her.) When= a shield bearing charges is divided by a partition line, so that part of the field is a colour and part a metal, then the charges are counter‑changed= ; that is to say, their tinctur= es are reversed so that metal may not fall on metal, nor co= lour on colour. ILLUS. counterc(189= 1a1)

<= /o:p>

$H Counter‑draw. [See Tracing] (1891a1)

$H Counterfeit.

Counterfeit. A repro= duction or fraudulent imitation of a print or any other work of art.(1891a1)=

Counterfeit, To. To counterfeit is to reproduce, copy, or imitate a work of art with intent to pass off the counterfeit as the original.(1891a1)

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

Counterfort. Arch. A buttress.(1883m1)

$H Counter‑knocker. Architecture

Counter‑knocker. (Arch.) The plate of metal on which a door‑knocker strikes.(1891a1)

$H Counter‑mark. Numismatics

Counter‑mark. = (Numis.) A sign engraved or struck upon a coin after= the coin itself has been struck.(1891a1)

$H Counter‑part.

Counter‑part. = The empty space intended to receive the inlay in marquet= ry work. The term is also applied to scenes or figures, which in composition= or attitude resemble scenes or figures already executed, but in the reverse direction.(1891a1)

$H Counter‑passant. Heraldry

Counter‑passant. (Her.) Said of two beasts passing each other in opposite directions.(1891= a1)

$H Counter‑pilaster. Architecture

Counter‑pilaster. (Arch.) A pilaster placed in front of another pilaster.(1891a1)=

$H Counter‑plate. Engraving

Counter‑plate.= (Engrav.) A second plate on which certain parts of a= print are engraved which were left untouched on the first plate.(1891a1)

$H Counterpoint. Music

Counterpoint. Music.= The art of combining melodies, or rather of adding to a melody harmonious parts. = Double Counterpoint is "a k= ind of artificial composition, where the parts are inverted in such a manner that the uppermost becomes the lowermost , and vice versâ= ;." (See Stainer= and Parrett, Dic. of Musical Terms.)(1883m1)

$H Counter‑potent. Heraldry

Counter‑potent. (Her.) One of the heraldic furs, in = which the potents<= /i> or crutch heads are arranged head to head as in counter‑vair.(1891a1)

$H Counter‑profile.

Counter‑profile. The outline of a moulding.(1891a1)

$H Counter‑proof.

Counter‑proof. An impression of an engraving printed from a wet proof.(1883m1)

Counter‑proof.= (Engrav.) The proof of an engraving reproducing the original the reverse way. A counter‑proof is obtained by placing ov= er the original proof while it is still wet a sheet of blotting paper, which takes up the ink, and so produces a reversed impression. We also term any painting or engraving a counter‑proof which is a reverse reproducti= on of the original.(1891a1)

Counter-proof (contra-proof). An impression of an engraving obtained by laying a freshly-printed proof = upon plain paper, and passing it again through the press, by which means the i= nk is transferred from the wet proof to the plain paper, and an impression reversed obtained for the use of the engraver, who may wish to see on the paper the exact effect of the lines as they are reversed on his plate. (1= 855f1)

$H Counter‑seal or Secretum.

Counter‑seal or Secretum. A seal on the reverse or back of another seal. Early seals were gener= ally impressed on both sides.(1883m1)

$H Counter‑vair.<= /span> Heraldry

Counter‑vair. = (Her.) One of the heraldic furs. It differs from vair by having its bells or cups all of the same tincture, and pl= aced base to base and point to point. ILLUS. counterv(189= 1a1)

<= /o:p>

$H Countess. Architecture

Countess. Arch. A ro= ofing slate, 20 inches by 10 inches.(1883m1)

$H Coup-d'oeil.

Coup-d'oeil. (Fr.) As much as may be comprehended by the eye at one view. The general effect= of a picture or group. (1855f1)<= /o:p>

$H Couped. Heraldry

Couped. Her. Cut off smoothly. The reverse of erased.(1883m1)

Couped. A charge is = said to be couped when its ends are cut off so th= at they do not reach to the edge of the shield. The term is also applied to a charge the ends of which are cut off evenly, in opposition to erased (q.v.).(1891a1)

$H Coupled (columns). Architecture

Coupled (columns). G= en. Two columns are said to be coupled when they are placed quite close to each other without touching. Coupled heads is the term applie= d to two heads placed back to back upon the same pedestal or the same trunk. M= any pedestals ornamented with HERMAE (q.v.) are surmounted by coupled heads.(1883m1)

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

Couples. (Constr.) Rafters framed together in pairs connected= with a tie. This method of framing is frequently used in country houses in Scotland.(1891a1)

$H Courant. Heraldry

Courant. Her. Runnin= g.(1883m1)

$H Course. Architecture

Course. Arch. One ra= nge, or stratum, of bricks, stones, or other material in the construction of a wall.(1883m1)

Course. (Arch.) A ra= nge of stones or bricks of uniform size running continuously in the wall of a building.(1891a1)

--- $H Course, Belting. <= span style=3D'mso-spacerun:yes'> Architecture

(Arch.) A pillar = of brick or stone, projecting little or not at all, used for the purpose of holding a wall together. Belting courses are always toothed that they may= the more solidly unite with the wall which is built up round them. ILLUS. coursebe(1891a1)

<= /o:p>

$H Court Cards.

Court Cards. The kin= g, queen, and knave of a suit. They were originally named in France; e.g. the four kings were Charlemagne, Caesar, Alexander, and David; the four queens, Judith, Rachel, Argine, a= nd Pallas; and the valets, Lahire, Hector, Lancelot, and = Hogier. Of these the kings were said = to represent the four ancient monarchies of the Jews, Greeks, Romans, and Franks; and the queens, wisdo= m, birth, beauty, and fortitude. (Taylor.= ) (See CHATRANG.)(1883m1)

$H Court Cupboards. Old English

Court Cupboards. O.E= . Richly carved and large cupboards for plate and other valuab= les, temp. Charles I.(1883m1)=

$H Court Dish. Old English

Court Dish. O.E. A k= ind of drinking cup.(1883m1)

$H Courtepy.

Courtepy. (Teutonic)= . Short cloak or gown.(1883m1)

$H Coussinet. Architecture

Coussinet. Arch. The crowning stone of a pier, lying immediately under the arch.(1883m1)<= /o:p>

$H Couteau de Chasse or= Couteau-de-Chasse.

Couteau de Chasse. T= he hunting‑knives in use in the 16th and 17th centuries were notable w= orks of art. Their hilt and sheath was generally elaborately carved. The sheath contained besides the knife itself several instruments, such as a fork and bodkin, which might be of service to the hunter. These may be observed in= our cut, which represents a couteau de cha= sse from the once famous Meyrick collection. ILLUS. couteau(1891a1)

<= /o:p>

Couteau-de-Chasse. (Fr.) The case of "hunting-knives," containing also a fork and bodkin, carried at= the side by gentlemen in hunting, in the fifteenth and sixteenth centuries. T= hey were highly decorated, and it was an especial honour, reserved for the principal gentleman of a hunting party, to cut up the deer when it was killed, which was done with much ceremony, and the skilful knowledge of t= he mode of carving considered part of a finished education. FIGURE(1855f1)

$H Coutel.

Coutel. Fr. A short = knife or dagger in use in the Middle Ages.(1883m1)

$H Coutere or Coutes.

Coutere or Coutes. T= he elbow‑piece in armour.(1883m1)

Coudières. (Fr.) Elbow-plates in mediaeval armour. See ELBOW-PIECES. (185= 5f1)

$H Couvre‑feu, Angl. Curfew.

Cou= vre‑feu, Angl. Curfew. A screen used, as its name implies, for covering the fire; introduced with = the famous Curfew‑bell, temp. William Rufus. (Fig. 202.) Fig. 202. Couvre‑feu (Curfew).(1883m1)

<= /o:p>

$H Cove.

Cove. Arch. A name f= or concave mouldings or other concavities.(1883m= 1)

$H Coved Ceiling. Architecture

Coved Ceiling. Arch.= A ceiling springing from the walls with a cove.(1883m1)

$H Cov= entry Blue.

Coventr= y Blue. A celebrated "blew threde" made at Coventry, temp. Elizabeth.(1883m1)

$H Cover a Canvas, To. &nbs= p;

Cover a Canvas, To. = (Paint.) To paint with rapidity. A term not always used in a good sense. Many arti= sts, when they have settled upon their design and are beginning to paint their figures, often lightly cover = their canvas with some neutral tint, which serves as a temporary ground and relieves their eye from the chalky tone of the canvas.(1891a1)=

$H Coverchief. [See Kerchiefs]

$H Covert. Heraldry

Covert. Her. Partly covered.(1883m1)

$H Covinus.

Covinus. R. (Celtic,= kowain)= . A war‑chariot. The spokes of its wheels were armed with scythes. [It was used by the anc= ient Britons. The Romans gave the name to a close travell= ing carriage covered in all round.] (Compare CURRUS, CARPENTUM.)(1883m1)=

Covinus. The war-car of the ancient Britons and other barbaric nations of the Roman era, the wheels of which were furnish= ed with scythes, to keep off infantry from a close attack on the charioteer,= and clear a way through an opposing army. (1855f1)

$H Cow. Egypt

Cow. This animal= was sacred to Hathor, the goddess who is sometimes represented with a cow's ears, or even the whole head. The cow also represented Nut, the sky goddess (q.v.), and at times Isis is also connected wi= th it. In the "Book of the Dead" seven mystic names are given to the divine cow, who is there the wife of the bull Osiris= . (See MEHURT.)(1902b1)

$H Coward or Cowed.

Coward or Cowed. Her= . An animal with its tail between its legs.(1883m1)

$H Cowl. [See also Cucu= llus]

Cowl. Mod. (from cuculla, CUCULLUS, q.v.). A priest's hood.(1883m1)

Cowl. (Arch.) A piece of earthenware or= iron in the shape of a cone, placed on the top of a chimney‑pot to regul= ate the draught. Sometimes cowls are furnished with weathercocks, which, by t= heir rotatory movement, prevent the wind blowing d= own the chimney. ILLUS. cowl(1891a= 1)

<= /o:p>

Cowl, Cucullus (Lat.) The hoods which protect both head and neck from the cold. St. Basil and S= t. Anthony commanded their monks to wear them, but they were generally used = by travellers, sailor's, and huntsmen. (1855f1)

$H Cow‑lady. Old English

Cow‑lady. O.E.= The lady‑bird. "A paire of busk= ins they did bring Of the cow‑<= span class=3DSpellE>ladye's corall wyng." (Musarum Deliciae.)(1883m1)

$H Cox. Old English

Cox or Cokes. O.E. A= fool; hence Coxcomb, for the top of= a fool's cap.(1883m1)

$H Coxcox. Mexico

Coxcox. The name given in Mexican mythology to the patriarch, who together with his wife Xochiquetzal, escaped the deluge by constructing a boat of cypress wood. (1876c1)