$H Eagle.

In ancient art the e= agle is the attribute of Zeus, and i= t is often figured on medals and coins carrying the thunderbolt of the King of Olympus. It also symbolises victory, authorit= y, and power, and in Christian art is the attribute of St. John, who indeed is often represe= nted under the form of an eagle. The form of eagle most frequently employed in heraldry is the eagle displayed. = The wings are shown open, and turn upwards towards the top of the shield. In = the eagle displayed the feet are als= o set apart, but if the eagle is blazoned an eagle with wings displayed, this im= plies that the bird is perched. Another less common form of eagle is the eagle with wings abaisé; this differs from the eagle displayed only in having the feathers drooping downwards as shown in the right‑hand cut. 2 ILLUS. = eagle1, eagle2(1891a1)

&nbs= p; &= nbsp;

Her. The eagle (called in heraldry Alerion) appears in the earliest English examples of arms, and his appearance often denotes an alliance with German princes. Both the Ge= rman emperors and Russian czars adopted the eagle for their heraldic ensign in support of their claim to be considered the successors of the Roman Caesa= rs. The eagle borne as the ensign of Imperial France sits, grasping a thunder= bolt, in an attitude of vigilance, having its wings elevated, but the tips of t= he feathers drooping, as they would be in a living bird. In remote antiquity= the eagle was an emblem of the sun, and the double‑headed eagle typifies the rising and the setting sun. The eagle was the attribute of Jove as his messenger. The eagle killing a serpent or a hare is an ancient symbol of victory. In Christian art the eagle is the attribute of St. John the Evangelist, the symbol of the highest inspiration. St. John is sometimes represented with human body and eagle head. The lectern in Christian churches is commonly = in the form of an eagle. Elisha the prophet is represented with a two‑= headed eagle. (See AQUILAE.) Fig. 274. Eagle ‑ Ensign of France.(1883m= 1)

$H Eaglet.&= nbsp; Heraldry

(Her.) A small eagle= . In heraldry it is always represented displayed, and generally its beak and claws are of a different tincture to the r= est of the body. ILLUS. eaglet(1891a1)

$H Ealdeaki.

An Accadian ci= ty, the site of which is not known. (1876c1)

$H Earl. Heraldry

Her. (from the Gaelic iarflath, "a dependent chief" =3D iar, "after," and flath, "lord"; pronounced iarrl). Before 1337 the highest,= and now the third degree of rank and dignity in the British peerage. An earl's coronet has eight lofty rays of gold rising from the circlet, each of whi= ch supports a large pearl, while between each pair of these rays there is a golden strawberry‑leaf. In representation five of the rays and pear= ls are shown. Elevated clusters of pearls appear in an earl's coronet as ear= ly as 1445; but the present form of the coronet may be assigned to the second half of the following century. Fig. 275. Earl's coronet.(1883m1)

$H Earl Marshal.

In England, one of the great officers of state, who regulates ceremonies and takes cognizance of all matters relating to honour, arms, and pedigree.(1883m1)=

$H Early English. Architecture

Early English Architecture. The first of the pointed= or Gothic styles of architecture used in England. It succeeded the <= st2:City w:st=3D"on">NORMAN towards = the end of the 12th century, and gradually merged into the DECORATED at the end of the 13th. Its leading peculiarity is the long narrow lancet window.(1883m= 1)

Early English. (Arch= .) A term applied to the first period of Gothic architecture, as it was develo= ped in England. It took the place of the Norman style towards the end of the 12th century, and flourished for about a century, giving way in its turn to the Decorat= ed style (q.v.). The following are its main features. Its windows are genera= lly long and narrow, of that form which is called lancet (q.v.). They sometimes occur singly, sometimes in grou= ps of twos, threes, and fives. Round windows, and also trefoils and quatrefo= ils, are found in Early English buildings, especially over a group of lancets. Arches are generally lancet or equilateral, while small trefoils and cinquefoils are common. The doorways are always pointed and deeply recess= ed. The piers generally consist of small circular pillars ranged round a larg= er one. The ornaments characteristic of the Early English style are few in number; foliage is rarely used, the tooth ornament (q.v.) being the most common. The mouldings are generally plain rou= nds, separated by very deeply cut hollows. The most complete example of the st= yle, which is also called First Pointed, is Salisbury Cathedral.(1891a1)<= /o:p>

$H Earn. Scottish

Scotch. An eagle.(1883m1)

$H Ear‑rings or Earrings. Costume

Ear‑rings. (Lat. inaures, Gr. ¦= <f= J4= "{=3Denotia]) were a common ornament for ladies in Gree= ce and Rome, and among the early Saxons: they were worn by men during the reigns of Elizab= eth and James I.

Fig. 276. Greek or Etruscan ear‑rings in gold.(1883m1)

Earrings. Ornaments = have been worn in the ear from the very earliest times. Among Eastern nations = men as well as women thus adorned themselves. In Greece and Rome, however, the fashion was only adopted by women. Earrings were worn by the Saxons, but their use seems to have died out about the 10th century. They reappear in the 14th century, and were quite common in Elizabeth's reign, the Queen herself wearing pearls in her ears. They were most popular in the 17th century, f= or at that period not only were they universally worn by women, but men plac= ed either rings or pieces of silk in their ears. At different periods they h= ave assumed an infinite variety of shapes and have generally been of a precio= us metal and set with jewels. Our illustrations represent the one an Egyptian, and the other a Sy= racusan earring. ILLUS. earrings(1891a1)

$H Ears.

Small protuberances = on a pitcher or other earthenware vessel, which serve the purpose of handles.(= 1891a1)

$H Earth Tables.

Arch. The projecting course of stones in a wall, immediately above the surface of the ground, now called the plinth. (Parker.)(1883m1)

$H Earthenware. (See POTTERY.)<= /span> (1883m1)

$H Earu See Aar - Editor.

$H Easel. Painting

Easel (from the German esel, an ass). A frame with movable rest for resting pictures on.(1883m1)

(Paint.) A stand upo= n which a picture is placed while in course of execution. The simple easel consis= ts of two laths connected together top and bottom by cross‑pieces, and thus presents the appearance of a triangle with a narrow base. Another pi= ece of wood is placed behind, and this forms a tripod. By means of a screw th= is piece may be extended behind, and so alter the inclination of the easel. A small tablet which can be moved up and down at will is attached to the two uprights, and it is this which supports the picture. This form of easel h= as been in use for centuries, as our cut of an artist at work, taken from an illuminated Romance of the Rose <= /i>of the 15th century, will show. Nowadays, another kind of easel is generally used. This consists of a vertical construction resting solidly on two cro= ss‑pieces at right angles to a third piece. The cross‑pieces are furnished wi= th casters, and the easel can thus be easily shifted from one corner of the studio to the other. On this framework a tablet on which the picture rests moves vertically by means of an endless screw. This tablet can be raised = or lowered at will by a simple crank. The name sketching‑easel is given to the light easels, which fol= d up so as to occupy as little room as possible, and can easily be carried abo= ut by the artist. Sculptors make use of an easel in mod= elling bas‑reliefs. In form they resemble the simpler form of painter's ea= sel which we have described. They differ from this, however, in being more so= lid and massive, as they have to support heavy weights. 3 ILLUS. easel1, easel2, easel3(1891a1)=

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

$H Easel‑picture. Painting

A small portable picture.(1883m1)

(Paint.) A picture o= f small dimensions and generally so minutely and delicately executed, that it may= be placed close to the eye of the spectator.(1891a1)

$H Easing. Architecture

(Arch.) When an arch= is built upon a centre (q.v.) it is always necessary to provide for easing the centre, i.e. for lowering it, so that the support may gradually be withdrawn from the arch. This easing is performed by the partial removal of two wedges plac= ed between the strut and rib. The operation of easing is described more fully under Centre.(1891a1)

$H Easter. Christian

Chr. (A.S. e= astre). From the goddess "Eostur," whose festival fell in April. The La= tin name "Paschal" refers to the Jewish feast of the Passover. The Paschal season originally extended over fifteen days, from Palm Sunday to= Low Sunday. (See Smith and Cheetham's= Dict. of Christian Ant.)(1883m1)

$H Eate. Egypt

An Egyptian officer, whose monument is in = the Leyden= Museum. Period uncertain. (1876c1)

$H Eau‑forte.

This term, borrowed = from the French, is frequently used as a synonym for etching (q.v.) or print produced by a chemical process. A met= al plate is covered with wax, and the drawing is then made on the wax with a needle. The whole plate is then submerged in a solution of nitric acid and water, which eats into the plate wherever the wax has been removed. With = the plate thus obtained prints can be struck in the ordinary way.(1891a1)

$H Eaves. Architecture

Eaves (A.S. = efese, the edge). The overhanging "edge" of the roof of a house.(1883m= 1)

The lower edges of t= he slopes of a roof, which rest upon the walls or project over them.(1891a1)=

$H Eaves‑course. Architecture

(Arch.) A moulding running round a building and carrying the = eaves.(1891a1)

$H Ebénistes.

Fr. Workers in fine cabinet‑making.(1883m1)

$H Ebih.

A Chaldean cit= y or district, conquered by Samsi-Vul, or Samas Rimmon, king of <= st2:place w:st=3D"on">Assyria. (1876c1)

$H Ebony.

A heavy, hard, black wood, obtained from the Diospyr= us ebenus. Ebony and other exotic woods came into general use in Europe from= the end of the 17th century ‑ subsequently to 1695, when the Dutch sett= led in Ceylon. The black ebony is the most valuable, but there are green and yellow varieties. Old carved ebony furniture found in English houses dates gener= ally from the early years of the Dutch occupation of Ceylon.(1883m1)

A wood found in the = forests of Asia and in the islands of Ceylon and Madagascar. The sap‑wood, which is of purest white, forms a striking contrast to the heart, which is quite black. It is this latter part of the tree which= is most used, the black, hard, heavy wood forming an excellent material for artistic furniture, for picture frames, and for door panels. The word ebo= ny is also frequently used as an adjective to denote the deep black characteristic of the wood.(1891a1)

$H Eburnean.

Made of ivory.(1883m1)

$H Ecbasios.

Ecbasios (= ¦6= $"= \<= T[=3Dekbaino], to disembark). A sacrifice offered to Apollo after a favourable voyage.(1= 883m1)

$H Ecbatana. Or Agbatana. Media

Ecbatan= a. Or Agbatana. The capital city= of the empire of Media. It was founded about B.C. 710, by the chief Dejoces,= the first king of the Medes, and it soon attained a position of strength and importance. According to Herodotus, whose statement is borne out by the existence of a similar style of architecture in Assyria, the city was bui= lt on a hill, having the royal castle in the centre, and being surrounded wi= th seven walls, each of them adorned with coloured tiles (in reference to the seven planets of the Median religion), the two innermost walls being coat= ed with plates of silver and gold respectively. In process of time the city became one of the most important capitals in Asia<= /st2:place>; but it received a severe blow in the destruction of the Magi within its w= alls by Darius Hystaspes, to commemorate which an annual feast called the Magophonia was instituted. The great extent of the empire of Darius necessitating a more central seat of government, he founded the city of Susiana, in Persia proper, for that purpose, after which the importance of the Median capital of Ecbatana steadily declined; it still however remain= ed a great city, although no longer a metropolis, and it preserved a degree of splendour down to the Christian period. (1876c1)

$H Ecclesia. Greek

Gr. General assembly of the citizens of Athens. (See Smith and Cheetham's Dic. of Christian Ant.)(1883m1)

$H Echea. Graeco-= Roman

Gr. and R. (= µP= @H[=3Dechos], sound or noise). Earthenwa= re or bronze vessels used to strengthen the sound in theatres. (See ACOUSTIC VE= SSELS.)(1883m1)

$H Echinate.

Armed with spines or bristles like a hedgehog.(1883m= 1)

$H Echinus. Architecture

(Arch.) A projecting= moulding placed under the abacus of the Doric capit= al. It is delicately convex in outline, describing a slightly swelling curve. The echinus in many buildings is decorated with the egg and dart moulding (q.v.). ILLUS. echinus(1891a1)

Arch. (Gr. = ¦P= Ã<= @H[=3Dechinos], a hedgehog). The egg and dart or egg and tongue ornament frequently carved on the round mouldi= ng, much used in classic architecture, called the ovolo. (Fig. 277.)

Fig. 277. Echinus or egg and tongue on the ovolo of a Greek cornice.(18= 83m1)

$H Echometry.

Echometry (= :X= JD= @<[=3Dmetron], a measure). The art of measuring the duration of sounds.(1883m1)

$H E-Ci. "Mound City."

An old Accadian name of the city of Babilu, or Babylon. (1876c1)

$H Eclectic.

This word is used to describe a taste in art which is not confined to one particular style or = one particular period, but which is able to admire the masterpieces of every school and of every time.(1891a1)

$H Ecnibaal.

A king or suffete of Tyre. The son of Baalsyllech. He reigned for two mo= nths only during the anarchy which followed the death of Baal, the king placed= on the throne by Nebuchadnezzar. (1876c1)

$H Écorché= or Écorchée.

Écorchée, Fr. (lit. flayed). Said of an anatomic= al model specially prepared for the study of the muscular system.(1883m1)

Écorché. A flayed figure. A statue or picture representing a body from which the skin has b= een removed in order better to display the muscles and veins. Michael Angelo produced two écorchés of great excellence, while the écorché o= f a man in repose by Houdon, and of a gladiator b= y Salveyre are very justly celebrated. There is also = a fine écorché of a horse modelled by Géricault. ILLUS. ecorche(1891a1)

$H Ecphonesis. Christian

Chr. That part of a devotional office which is said = audibly, in contrast with that s= aid secreté.(1883m1)

$H Ectypography.= Engraving

(Engrav.) A method of etching the reverse of the ordinary process, in which the lin= es intended to print dark are not bitten in but left in relief, while the li= ghts are bitten in.(1891a1)

$H Ectypum.

A cast in relief obt= ained from a hollow mould. Ancient inscriptions as well as coins and medals are reproduced by this method.(1891a1)

$H Ectypus. Roman

R. A hollow mould which produces an impression in re= lief which is called ectypum.(1883= m1)

$H Ecuelle.

Fr. A porringer. Fig. 278 is a specimen in the best = style of Venetian porcelain.

Fig 278. Ecuelle, Venetian porcelain.(1883m1)

$H Edali.

The Kypriote f= orm of the name of the town which was called Idalium= by the Greeks. (1876c1)

$H Eddas.

In Scandinavian mythology the sacred poeti= cal books, several of which remain to us in a more or less corrupted conditio= n. (1876c1)

$H Edfu.

The modern name for the city and nome of Apollinopolis, = called by the Egyptians Teshor. The most ancient nam= e of this town was Teb. The great temple of Edfu is one of the most stately and best preserved, Karnak and Tentyra excepted, in Upper Egypt. It was dedicated to the god Horu= s, and was built on the same plan as that of Tentyra, by Nekhtarhebi II. of the XXXth dynasty. The interior walls are covered with a series of mythical inscriptions relative to the legend of Horus and a series of dialogues with the divinity and the royal founder. A great number of towns and other geographical sites are mentioned in the Hieroglyphics, together with the usual inflated lists of donations to the temple and its priests.(1876c1)

$H Edifice.

A general term appli= ed to a house or building of any kind.(1891a1)

$H Edward‑Shovelboards. Old English

O.E. Broad shillings of Edward VI., formerly used in playing the game of shovelboard. (Halliwell.)(1883m1)

$H Effect.

The impression produ= ced in a picture by the arrangement of light and shade.(1891a1)<= /p>

$H Effeir of War. Scottish

Scotch. Warlike guise.(1883m1)

$H Effigy or Effigies.

Effigies, R. An image or effigy. The word is usually applied to the heads upon coins or medals.(1883m1)

Effigy. The head or = bust of a person represented on a coin or medal; a sculptured figure on a sepulch= ral stone. In a more general sense ef= figy denotes any portrait of a person, especially one which is more literal th= an artistic.(1891a1)

$H Efflorescence.

This term is used to describe extravagant and fanciful ornamentation, or the over‑develo= pment of any style.(1891a1)

$H Effrayé. Heraldry

(Her.) A term applie= d to a bare‑backed horse reared up on its hind legs, or salient. This atti= tude is supposed to suggest fright. ILLUS. effraye(1891a1)

$H Egg and Dart or Egg and Tongue. Ornament

Egg and Dart, or Egg and Tongue, Ornament, Arch. (Fr= . aards et oves). A carving commonly inserted on the ovolo moulding. (See ECHINUS.)(1883m1)

Egg and Dart. A deco= rative moulding consisting of a pointed arrow separating t= wo eggs. Sometimes these darts are slightly ornamented, but in every case a sharp outline and straight edge are necessary to make the moulding effective. The moulding is also called egg and anchor or egg and tongue. ILLUS. eggandda(1891a1)

$H Egg‑feast or Egg‑Saturday. Old English

O.E. The Saturday before Shrove Tuesday.(1883m1)

$H Eggs. Christian

Eggs, as a Christian emblem, are supposed to represe= nt "the immature hope of the resurrection." (Martigny.)(1883m1)

$H Egg‑shell. Porcelain

Egg‑shell Porcelain. A very thin white porcela= in of the "Rose family," to which the Chinese have given the name of "porcelain without embryo."(1883m1)

Egg‑shell. A k= ind of porcelain which was once manufactured in China. Its characteristic i= s its extraordinary thinness. On account of its frangibility, as well as the difficulty which attended its manufacture ‑for it was ground thin o= n a wheel‑ it is very rarely met with, and consequently highly prized. = The earliest specimens of it were of pure white; the later were decorated with blue flowers.(1891a1)

$H Egides.

The name given by the French Egyptologists= to certain little shields, often wrought in silver or gold, in the shape of = the collar called the Askh, and having the head of the goddess Sekhet, or= Bast, at the top. These ornaments were often hung o= n the upraised prows and stems of the solar and sacred boats, and were also wro= ught in cornelian and other hard stones, to be worn as amulets: their mytholog= ical use is not known. The Egides were formerly ca= lled the Shields, or AEgis, of Pasht. (1876c1)

$H Egotos.

A Kypriote who= se name occurs on a votive inscription in the Cesnola collection. (1876c1)

$H Egret.

(Fr. aigrett= e). A small white heron, marked by a = crest on his head.(1883m1)

$H Egypt.

The oldest and most mysterious of all the empires of antiquity, and the mother of Archaic history. It was anciently called Khem, a word supposed to signify "black;" it was also called in the hieroglyphics "The Coun= try of the Sycomore," and "The Country = of the Fig." Its earliest traditions are themselves lost in the traditions = of mythology, and its latest monuments are anterior to Ancient or Classic history. Geographically Egypt is a narrow strip of country, about 400 miles long and about five broad, being simply the shores of the river Nile hemmed in between lofty mountains on the one hand, and a series of sterile deserts on the other. Occupying at the Delta the North-eastern corner of = the great continent of Africa or Lybia, it is joi= ned to Asia by the Isthmus of Suez, is bounded on the North by the Mediterranean Sea, on the East by the Isthmus and the Red Sea, and on the South by Nubia, beyon= d Syene, the limits of Egypt proper. In the time o= f the principal dynasties, Egypt was divided into two kingdoms: that of Upper Egypt, of which the capital = city was Thebes, and Lower Egypt, of which th= e seat of empire was the city of Me= mphis, by some writers considered to have been the original starting place of Egyptian civilisation under Menes. In the period between the XIIIth and XVIIIth dynasties, took place the terrible incursion which was long remembered as the Hykshos inva= sion, and on the termination of which the second period of Egyptian history commenced, and the importance of the empire culminated under Thothmes I. and III., and Hata= su the queen, of the XVIIIth dynasty, at which t= ime Palestine, Mesopotamia as far as Nineveh, South-western Arabia, Nubia, and <= st2:country-region w:st=3D"on">Cyprus, and some of the smaller islands = of the Mediterranean Sea were included in the dominions of the king of Upper and= Lower Egypt. The XIXth dynasty under the Ramesside monarchs, the sec= ond of whom was the Sesostris of the Greeks, maintai= ned, if it did not witness an enlargement of these conquests; but in the XXIInd and subsequent dynasties the power of Egypt declined, till the accession of the Ethiopian monarchs, the chief of whom= was Pianki Meramen. I= nternal wars and consequent political weakness succeeded, and Egypt was conquered by Esarhaddon, and the lower empire was broken up into= a congeries of twenty petty kingdoms, called the Icosa= rchy, and on the invasion of Assurbanipal, a few ye= ars later, that number was reduced to a dodecarchy of twelve princes. These again were absorbed by the Persian or XXVIIth and XXXth dynas= ties, the last king of which was Nechtarhebi II., u= nder whose successor Amasis or Aahmes II., the Egyptian empire finally fell to pieces, and Egypt remained a sub= ject territory, following the fluctuations of the Persian court under Darius a= nd his successors till the time of Ptolemy Lagus, the founder of the Ptolemaic dynasty, which furnished a line of sixteen Greco-Egyptian sovereigns, nominally Egyptian till the death or Ptolemy <= span class=3DSpellE>Caesarion XVI., the son of the famous Cleopatra VI.; after which Egypt was annexed to the Roman empire, and its history passed from the region of Archaic into the boundaries of Classic or almost modern history. The subject of Egyptian chronology is obscure even beyond the po= wers of comparative conjecture, the accession of Menes, the first historical king, being made to range from B.C. 5004 to 2000, an= d it is yet an unsettled point whether any, and if so which, of the dynasties = were contemporaneous, and how far even the astronomical calculations of the Egyptian priests are to be relied upon prior to the reign of Tirhakah, the contemporary of Hezekiah, king of Jud= ah. See also the appendices for the = tables of Egyptian dynasties, mythology, and the genealogy of the Ptolemaic king= s; also Menes<= /span>, Apepi, Amenemha III., <= span class=3DSpellE>Thothmes II., Rameses I= I. and III., Piankhi, Amasis. etc. (1876c1)

$H Egyptian Architecture (and Sculpture).

Egyptian Architectur= e. The architecture of the Egyptians takes us back to the very remote past. The domestic buildings of Egypt were of the most primitive description. The poorer classes had to be cont= ent with what were nothing more than huts made of bricks with no windows or m= eans of lighting. The more ambitious houses were built round a courtyard and somewhat resembled the Roman atrium (q.v.) in form. The religious buildin= gs of the Egyptians were on a very large scale. Among them were the pyramids, which date from = the 4th dynasty. Egyptian temples have some resemblance in style to the Doric temples of Greece<= /st2:place>. The mouldings which ornament them are very si= mple, and more often painted than carved.(1891a1)

Egyptian Architecture and Sculpture can be studied i= n the monuments remaining from remotest antiquity to about A.D. 300. Great varieties of style occur, which can be easily attributed to their respect= ive periods by the hieroglyphical inscriptions. The three primitive motives of all Egyptian buildings are the py= ramid caves, and structures of timb= er, all contemporary with the most ancient relics. In sculpture, the most anc= ient works of all are also those most remarkable for fidelity to nature. The conventionality introduced afterwards with the canon of proportions is still combined with a close imitation= of Nature in the details. The Grecian or Ptolemaic period begins B.C. 322. [= See Wilkinson's Ancient Egyptians, Canina's Egyptian Architecture; = and the works of Brugsch, Marriette, Soldi, Ebers, &am= p;c.](1883m1)

$H Egyptian Blue.

Egyptian Blue, the brilliant blue pigment found on t= he monuments, is found by analysis to consist of the hydrated protoxide of copper mixed with a minute quantity of iron. The green colour was derived from another oxide of copper; violet from manganese or gold; yellow from silver, or perhaps iron; and red from the protoxide of copper.(1883m1)

$H Egyptian Brown. Painting

(Paint.) A rich brown pigment composed of white pitch, myrrh, and animal matter. In spite of its brilliance and transparency it cannot be recommended, as it is not perman= ent.(1891a1)

$H Egyptian Pottery.

Egyptian Pottery of great beauty is found in great quantities along with the costly ornaments in the tombs. It is intermedia= ry between porcelain and stoneware, and its colouring demonstrates a high de= gree of skill, science, and precision of execution. Among the forms frequently found are the oviform, long‑necked bottles (Fig. 279), lenticular phials with royal cartouches (Fig. 280), lamps (Fig. 281), &c. (See a= lso Fig. 219.)

Fig. 279. Oviform bottle. Egyptian. Fig. 280. Lenticular Phials. Louvre Museum.

Fig. 281. Lamp in blue enamelled earthenware. Egyptian.(1883m1)

$H Ehe.

An uncertain Egyptian goddess, represented= as a woman with a cow's head, perhaps a form of the deity Hathor. (Wilkinson.) (1876c1)

$H Ehoou.

The Egyptian deity of the Day. He was generally represented as wearing the Pschent, together with the long lock of hair falling on the right side, as worn by= the god Horus. (Wilkinson.) (1876c1)

$H Ei-amen-nef-neb-oui.

An overseer of the priests of the temple of Amen. His father was. named Ankhpiskhe, and hi= s mother Sakhons. His triple coffin and mummy are in t= he Leyden= Museum. (1876c1)<= o:p>

$H Eikon, Gr., or Icon,= Lat.

An image; hence iconoclasts or image‑breakers.= (1883m1)

$H Eileithyias. = Egypt

The city of Lucina, capital of the third nome of Upper Egypt, the modern El-Kab, and th= e site of a very ancient city, the oldest objects dating back to Dynasty VI. The goddess Nekhebt wasworsh= ipped there.(1902b1)

$H Eilethya.

A chief town in Upp= er Egypt, which was sacred to the worship of the goddess Seben. (1876c1)

$H Eileton. Christian

Chr. = (from ,= Ç8= T[=3Deilo], to wind or fold). The cloth on which the elements are consecrated in the Eucharist. "The eileton represents the linen cloth in which the body of Christ was wrapped when it was taken down from the cross and laid in the tomb." (Germanus).(1883m1)

$H Einheriar.

In Scandinavian mythology the name applied= to the souls of heroes slain in battle, upon their entrance into the Walhall= a. (1876c1)

$H Eirene.

A Greco-Egyptian lady, the daughter of Ptolemy. She was a priestess of the goddess Arsinoe<= /span> Philopater, at Memphis, in the reign of Ptolemy V. (1876c1)

$H Eisodos. Christian=

Chr. A ceremony of the Greek Church, of two parts. <= /p>

(1) The bearing into the church in procession of the= book of the Gospels is called the Less= er Entrance.

(2) A similar bearing in of the elements of the Euch= arist is called the Greater Entrance.(1883m1)

$H Ei-uskh.

A priest of Pthah-Sok= ari-Osiris, in the reign of Rameses= III. He was the son of Pthahmes, a priest of = the same deity likewise. (1876c1)

$H Ekate.

A king or deity who is mentioned in the Kypriote inscription of Dali. (1876c1)

$H Eki.

The Accadian n= ame of several cities or districts whose sites are not known. (1876c1)

$H Ekiamizillak.=

The name of the palace erected at Agane by Sargon I. or Sarg= ina. (1876c1)

$H Ekim.

The Assyrian form of the name of the class= of evil spirits who were called by the Accadians= Gigim. (1876c1)