$H Enafota or Enafodia.

Chr. (Gr. = ¦<<= ,V= NT= J"[=3Denneaphota]). A corona or chandelier of "nine lights."(1883m1)

$H Enaluron. Her. (See ENTOIRE.) (1883m1)=

$H Enamel and Enamels. &nbs= p;

Enamel. A semi‑= ;opaque vitrified material, which is melted and applied to various metals, such as gold, silver, and copper. It is capable of receiving different colours by the introduction of various oxides. Thus= oxide of tin colours enamel white, oxide of cobalt blue, and copper green. The term enamel is also ap= plied to the opaque glaze on pottery.(1891a1)

Enamel. Painting in enamel is done by means of colou= rs that are vitrifiable, a quality that is communicated to them by combining them with a vitreous base, which is called their flux. These are fused an= d fixed on the enamel by the action of fire, which produces in the colours applied such changes as the artist has previously learned to calculate. (Bouvier.).(1883m1)

Enamel. (Fr. esmail; Ital. smalto). A glassy subst= ance of many brilliant colours, melted and united to gold, silver, copper, bro= nze, and other metals in the furnace. Enamel is coloured white by oxide of tin, blue by oxide of cobalt, red by go= ld, and green by copper. Different kinds of enamel are (1) inlaid or incrusted. (2) Transparent, showing des= igns on the metal under it. (3) Painted as a complete picture. "Many fine specimens of ancient Chinese enamel were seen in the Exhibition of 1851. = They have the enamel on copper, beautifully coloured and enlivened with figure= s of flowers, birds, and other animals. The colouring is most chaste and effective. The Chinese say that no good specimens of this manufacture have been made for the last six or eight hundred years." (Fortune.) Beautiful transparent enamels are made in India. They look like slices of emerald or sapphire laid in beds of gold, having tiny figures of beaten gold let into their surfaces. (See also CLOISONNÉ, CHAMP‑LEVÉ, BASSE‑TAILLE, &c.) T= he beautiful example of enamel‑work, Fig. 287, is attributed to Benven= uto Cellini. (See Fig. 188.) Fig. 287. Pendant of gold, enamelled and enriched with jewels.(1883m1)

--- $H Enamel, Basse‑taille.

A process of enamelling on precious metals, which consists in ch= asing the metal plate and then covering it with powdered enamel of slightly dif= ferent shades.(1891a1)

--- $H Enamel, Brown.

(Pot.) Brown enamel = is composed of minium and manganese mixed up with brick‑dust.(1891a1)

--- $H Enamel, Champlevé.

Enamel deposited in = the cavities of a metal plate, hollowed out to receive it. This method of enamelling succeeded cloisonné enamelling in the 13th century, as it require= d less labour and skill. In German enamels of this c= lass the colours green and yellow predominate, whi= le lapis lazuli is the prevailing tint in the enamels of Limoges. [Champlevé.](1891a1)

--- $H Enamel, Cloisonné. [Cloisonn&eacut= e;.] (1891a1)

--- $H Enamel, Goldsmith's.

Enamel deposited on = a plate incised with a cutting tool, generally a graver.(1891a1)

--- $H Enamel, Painter's.

Paintings on plaques= of metal, usually of small dimensions.(1891a1)

--- $H Enamel, Relief.

An enamel resulting = from fusion, the irregular surface of which has either been left unpolished or= so worn by friction as to be quite rough.(1891a1)

--- $H Enamel, White.

(Pot.) White enamel = or white glazing is composed of the oxides of tin and lead mixed with sand contain= ing quartz, and with sea salt and soda. Painters work on a ground of white enamel, which they leave untouched to obtain their lights.(1891a1)

--- $H Enamels, French.

These enamels, consi= sting mainly of brooches and buckles, date from the 4th to the 8th centuries. A= few specimens are to be found in the Louvre. Ther= e are also some enamelled jewels of the 9th and 10th centuries.(1891a1)

--- $H Enamels, Fusible.

Used as a groundR= 09;work in the manufacture of porcelain. It contains a large proportion of oxide = of lead.(1891a1)

--- $H Enamels, Limoges.

The special characte= ristic of early Limoges enamels is that they have a = dominant tone of blue lapis lazuli, accompanied with sea‑green and with pink= for flesh tints. Hair is represented by means of incisions made with the grav= ing tool and filled with red enamel. Such is the character of Limoges e= namels before the year 1151. At the end of the 11th and in the 12th century, fle= sh is tinted and the metal is gilt. At the end of the 12th century the figur= es are partly enamelled and partly left in relie= f and flesh is tinted white. In the next century the outline of the figures is = left in relief and the details are sunk. Both in this century and in the 14th century enamels are coloured uniformly, the t= int being either a greenish blue, or a blue and yellow, or an azure. These are the prevailing characteristics of Limoges enamels, but up to= the 15th century it is difficult to assign a precise date to a particular specimen because workmen were constantly influenced by the desire to imit= ate older work.(1891a1)

--- $H Enamels, Niello.

Sheets of metal engr= aved with sunk lines, which are filled with black enamel.(1891a1)

--- $H Enamels, Painted.

Painted enamels belo= ng to the beginning of the 16th century. A coat of dark enamel is first laid on= the metal, then a coat of white enamel through which the black undercoat appe= ars as a grey. The design is traced on this white coating, masses being indic= ated by hatchings. All the white enamel beyond the outline of the figures is removed, leaving the black beneath. The vessel is then baked and the desi= gn becomes fixed.(1891a1)

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

Translucent enamels = are small enamels on gold or silver. The tabernacle of O= rvieto is said to be the finest example of a translucent enamel. At Cologne is preserved a crosier of the 14th century ornamented with translucent en= amels. The same ornamentation was applied by Benvenuto Cellini to his gold work. Only six colours are found in translucent enamels, blue, green, grey, tan‑colour, purple, and black. White and yellow are exc= luded because they can only be obtained by means of stannic acid, which is opaq= ue.(1891a1)

$H Enamelled Glass. (See GLASS.) (1883m1)

$H Enamelled Wares. (See GLAZED WARE.) (1883m1)

$H Enamellers.

The artists to whom = we owe the most celebrated enamels in the world are Elbertu= s of Cologne and Jean Bartholus in the 13th cen= tury; Ugolino da Siena, Franucci and Andrea d'Ardilo in the 14th century; Pierre Verrier in the 15th;= Jean and Hardan Penicaud, Maso Finiguerra, and Jo= seph Limosin in the 17th; Dinglinge= r, Rode, and Bouillet in the 18th; and Augustin, de Courcy and Claudius Popelin in the 19th.(1891a1)

$H Enameller's Needle.

Painters in enamel s= pread their tint by means of pointed needles, and also use a flat needle shaped like a spatula to deposit the masses of colour on the place where they want it. The pieces of boxwood with which they efface irregularities in their work are also called needles.(1891a1)<= /span>

$H En-antef. Egypt

The overseer of the altar of Osiris (?) in the reign of Ame= nemha II. He was the son of the lady Ranfankh, and = he married a lady named Ameni. All the members o= f his family were either named Antef or Enantef.(1876c1)

$H Encaenia. Christian

Chr. A dedication festival.(1883m1)

$H Encarpa. Architecture

(Arch.) A festoon of= fruit or flowers, frequently used to decorate friezes and other flat spaces. ILLUS= . encarpa(18= 91a1)

Gr. An architectural decoration formed of festoons or garlands of flowers and fruits (= 6"= DB= @Â[=3Dkarpoi]), whence its name. Fig. 288 shows an example from the temple of Vesta at Tivoli.

Fig. 288. Encarpa (Festoons) on the Temple of Vesta at Tivol= i.(1883m1)

$H Encaustic.

A method of painting= used by the ancients especially in architectural decoration and in the painting of statues. [Polychromy.] It consists in employi= ng colours mixed in melted wax which is kept hot durin= g the whole process of the painting. The term encaustic is also sometimes appli= ed to a preparation laid on marble or plaster to protect it from moisture.(1= 891a1)

R. (lit. burning in). The art of painting in encaust= ic. Pliny says, "The colours were applied with wax on marble, and transparent gum on ivory. Coloured wax was applied to the wall in the for= m of a paste, and in the manner of mosaic or enamels. This was then melted or = fused with hot irons (cauteria), a = small fillet of a different tint being inserted between each flat tint." Fairholt says, "There is no antique painting extant which is properly called ENCAUSTIC; all those supposed to be so have, on closer examination, proved to be in FRESCO or in TEMPERA."(1883m1)

$H Encaustic Tiles. Mediaeval

Ornamental tiles for floorings, extensively used in = the Middle Ages.(1883m1)

The floors of many m= ediaeval churches in Englan= d are decorated with encaustic tiles, some of which are of exquisite beauty= of design. Their manufacture was very simple. Square blocks of red clay were stamped with a print cut in relief. The hollows thus produced, which were= not very deep, were filled up with a white clay. T= he whole was then glazed and fired. The encaustic tiles which are preserved present an extraordinary variety of designs. Some represent foliage, geometrical patterns, heraldic devices, and even human heads or figures. = Many are found bearing quaint inscriptions in English or Latin. Of the two cut= s we give here, the former represents an encaustic tile in a church at Malvern= , as the latter a portion of an ornamental border from the Chapter House at Westminster. 2 I= LLUS. encaust1, encau= st2(1891a1)<= /p>

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

$H Enceinte. Fortifications

(Fort.) The continuo= us wall with its towers and gateways surrounding a city or fortified place is cal= led the enceinte.(1891a1)

$H Encheirion. Christian

Chr. The napkin with which the priest wipes his hand= s; worn at the girdle.(1883m1)

$H Enchorial; Egypt

another name for DEMOTIC (q.v.).(1902b1)=

$H Enci. "The Earth.&quo= t;

Another Form Of Th= e Name Of The Accadian Deity Hea<= /span>, Which See. (1876c1)

$H Enclavé. Heraldry

(Her.) This term is = used when one part of a shield is as it were keyed into another by a square projecting piece. This method of dividing a shie= ld is found mainly in German coats of arms. ILLUS. enclave(1891a1)

$H Encoignure.

Fr. A table made with an angle to fit into a corner.= (1883m1)

A small table, trian= gular in shape, which is made to fit in to the angle formed by two walls in the co= rner of a room. ILLUS. encoignu(1891a1)

$H Encolpia. Christian

Chr. (lit. worn on the breast, or from the Gr. ¦= (6= @8= B\= .T[=3Dengkolpizo], to contain in the wom= b). (1) Small caskets containing relics or a copy of the Gospels, worn by the early Christians suspended from the neck. (See EPOMADION.) Their use is of the highest antiquity, and specimens have been found in the tombs of the ancient cemetery of the Vatican, belonging to the 4th century. These were square in form, having on one si= de the sacred monogram 3O= C[=3Dichr] for 3= /E= ?K= E O= C3= EI= ?G[=3Diesous christos] between the lette= rs ! and = S[=3DOMEGA]. (2) The pectoral crosses worn by bishops are also called encolpia. Reliquaries in the form of a cross are first mentio= ned by Gregory the Great. He sent one of them to Queen Theodelinda. (Martigny.)(1883m1)

$H Encomboma.

Gr. (i.e. girt on). A Greek apron, tied round the wa= ist, worn chiefly by young maidens and by slaves to keep the tunic clean.(1883= m1)

(Cost.) A garment fa= stened round the waist by a large bow, which is seen in front. It served the pur= pose of an apron and was worn by slaves and others to keep the tunic clean. It also formed part of the costume of the comic actor. Our cut, which repres= ents a girl wearing an encomboma, playing the pipe= s, is from a bas‑relief. ILLUS. encombom(1891a1)

$H Encyclical Letters.

(1) Chr. Letters "sent round" to all who s= hould read them, and not addressed to any particular person (from the members o= f a council, &c.).

(2) Gen. The same words, = (D= V::= "J= " ¦= (6= b6= 84= "[=3Dgrammata engkuklia], apply to the subjects which the Greeks included in the "circle of the sciences," or encyclopaedia.(1883m1)

$H Encysted. =

Enclosed in a cyst.(1883m1)

$H Endecagon.

Endecagon (= ª<= *,= 6"[=3Dendeka], eleven; (= T<= \"[=3Dgonia], an angle). A plane fi= gure having eleven sides and eleven angles.(1883m1)

$H End‑ornament. Architecture

(Arch.) An ornament sometimes plain, sometimes richly decorated, which terminates a pinnacle, pediment, or spire. End‑ornaments may be spherical or pointed, and often consist of bunches of foliage. 2 ILLUS. endorna1, endorna2(1891a1)=

&nbs= p; <= /span>

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

Her. A diminutive of the PALE (q.v.), one‑four= th of its width.(1883m1)

$H Endo' hys. (See ENDYTIS.) (1883m1)

$H Endromis. Costume

Endromis Gr. and R. (= *D= `:= @H[=3Ddromos], a course or running). In = Greek this name is given to hunting boots of Cretan origin, such as Diana is represented wearing by the Greek sculptors. Among the Romans the endromis was an ample blanket of coarse wool, introduced from Gaul, in = which athletes wrapped themselves when they were heated with the exercises. Endromis Tyria was the name give= n to a large woollen wrap much finer than the ordinary endromis, and which was worn by the Roman ladies after their gymnastic exercises.(1883m1)

(Cost.) A heavy, war= m kind of garment, which athletes loosely wrapt round t= heir bodies after becoming heated in the gymnasium. It therefore served the sa= me purpose as the modern garment called a "sweater." Representatio= ns of athletes clothed in the endromis a= re of frequent occurrence in classical art. ILLUS. endromis(189= 1a1)

$H Endytis. Christian

Endytis Chr. (= ¦<= *b= T[=3Denduo], to put on). This term, in the Middle Ages, denoted an altar‑coverin= g; other terms for it were endothis<= /i> and endothys.(1883m1)

$H Enemessar.

The name by which Sha= lmaneser IV. was known to the writer of the book of Tobit. (1876c1)

$H Energetic.

An epithet applied t= o a work painted with vigour, or to a drawing with a f= irm, solid, and strongly accentuated outline.(1891a1)

$H Energumens. Christian

Chr. Men possessed with devils.(1883m1)

$H Enfeu.

Fr. A sepulchral vault usually placed under the choi= r of a church; it assumed the form of a large niche. Originally bishops were interred by "droit d'enfeu" in tombs of this kind. The term is derived from the Latin infodere (to dig).(1883m1)

$H Enfiled. Heraldry

Her. Pierced with the sword.(1883m1)

$H Engageants.

Fr. <= /span>"Double ruffles that fall over the wrists." (Ladies' Dictionary, 1694.)(1883m1)

$H Engineer's Cartridge.

A drawing paper of a= certain size, its dimensions being thirty inches by twenty‑two.(1891a1)

Drawing‑paper manufactured in sheets measuring= 30 by 22 inches. Double Engineer's Cart= ridge measures 46 inches by 30.(1883m1)

$H Englanté. Heraldry

(Her.) In blazoning a shield, this term would be used to describe a twig of oak bearing acorns = of a different tincture to that of the leaves. ILLUS. englante(189= 1a1)

$H Engobe. Pottery

Fr. A "slip" or thin coating of white clay= used to coat pottery before the invention of the tin glaze.(1883m1)

(Pot.) A white paste= applied to the surface of some kinds of pottery; an earthy substance used in the decoration of coloured pottery. Artificial engobe is formed of colourless= earths mixed with metallic oxides, while natural eng= obe is a natural mixture of earthy matter with colouring= oxides.(1891a1)

$H Engouled. Heraldry

(Her.) Said of a cha= rge which is being swallowed by some animal; thus the cut represents a bond argent engouled by two lions' heads. The word= is also applied from the other point of view to a person or animal pierced b= y a weapon through the mouth. ILLUS. engouled(1891a1)

$H Engrailed. Heraldry

Her. A border‑line indented in semicircles.(18= 83m1)

(Her.) A dividing li= ne in a shield is said to be engrailed when it is broken up into a series of small projecting teeth having a cuspR= 09;like form. It thus differs from an ind= ented line (q.v.), where the sides of the teeth are straight. ILLUS. engraile(1891a1)

$H Engraver.

An artist who cuts d= esigns on wood blocks or ploughs them out on a copper plate with the graver, or = in fact executes any of the processes which come under the term engraving.(1= 891a1)

$H Engraving.

Copper‑plate engraving is called CHALCOGRAPHY = (q.v.) (Gr. P= "8= 6Î= H[=3Dchalkos], copper); wood engraving, XYLOGRAPHY (q.v.) (Gr. = >b= 8@= <[=3Dxulon], wood); and engraving on stone, LITHOGRAPHY (q.v.) (Gr. 8= \2= @H[=3Dlithos], a stone). [Each process is described under its own heading. See also ETCHING.](1883m1)

The art of engraving= may be defined as the art of representing objects by incised lines on wood, meta= l, or stone. In the broad sense of the term engraving has been practised by all nations and in all ages. Many hund= reds of years, however, passed before the method of multiplying copies by prin= ting from one original plate was discovered. It is to this multiplication of copies that the term engraving is now generally applied, though indeed it= is no essential part of engraving. Engraving as it is understood to‑day dates only from the 15th century, in the early part of which the first ru= de wood‑blocks were produced. The more important methods of engraving = will be found described under their separate titles [Wood‑cutting, Line&= #8209;engraving, Etching, Stipple, Mezzotint, Lithography, &c.]. The term engraving is also applied to the art of cutting designs upon or chasing m= etal plates, such as sepulchral brasses, as well as to the art of cutting prec= ious stones, either in cameo or intaglio. The print struck off from a wood blo= ck or engraved plate is called an en= graving.(1891a1)

--- $H En= graving, Colour.

In colour engraving several plates are employed to produce one proof. Each of the plates prints a different colour, and by their superposition intermediate tones are produced. The plates are engraved as= in mezzotint (q.v.). and the great difficulty is to observe the guiding poin= ts, so that in the successive printings the colours are applied exactly in the place which they ought to occupy, without overR= 09;running the outlines.(1891a1)

--- $H En= graving, Crayon.

A method of engraving popular during the last century, by means of which exact fac‑similes of crayon drawings were produced. A varnished copper plate was used as in etching, but instead of working with an ordinary needle the engraver used= a toothed needle, a roulette, and several other = tools, which enabled him to imitate exactly the broad strokes of the crayon or chalk. The earliest specimens of this kind of engraving were produced by François and Demarteau in France. The latter's reproductions of the drawings of Boucher and his school are just= ly celebrated.(1891a1)

--- $H Engraving en taille d'épargne= .

A term applied to th= at process of engraving, in which the part intended to be reproduced in the print is left in relief, while the rest is cut away. To this class of engraving wood‑cutting belongs.(1891a1)

--- $H En= graving en taille douce.

In this method of en= graving the lines which are to be reproduced in the print are hollowed out or depressed beneath the surface of the plate. That is, it is the reverse of engraving en taille d'épargne. Line‑engraving and etching are among the examples of engraving en taille douce<= /span>.(1891a1)

--- $H En= graving in Camaieu.

A method of engravin= g practised in the 16th century, the object of which = was to imitate sepia drawings. As it was necessary to reproduce several distinct tones of brown as well as white, several wood blocks were used and applie= d to the paper one after another, a separate block being used to print each to= ne. Engravings in camaieu are sometimes printed a= ll in one colour, and the differences of tone are obtained by hatchings.(1891a1)

--- $H En= graving in the Dot Manner.

One of the earliest = methods of engraving on metal. Instead of drawing lines on the metal or scraping = it away, the engraver simply covered those parts of his plate which he wishe= d to print light with small dots or holes. Two engravings in this manner dating from the year 1406 have been recently discovered.(1891a1)

$H Engur.

The king of the city of Tsibarai,= in Girubbunda. He paid tribute to Samas-Rimmon or Samsi-Vul, king of = Assyria. (1876c1)

$H Enhanced. Heraldry

Her. Raised towards the CHIEF, or upper part of the shield.(1883m1)

$H Eniel.

The king of Hamath, conquered by Tiglath Pil= eser II. (1876c1)

$H Enna. Egypt

An Egyptian scribe in the reign of Rameses II. He was the author of the romantic story called "The Tale of the Two Brothers," which was written for the amusement of the young king. (1876c1)

$H Enna-enna. Egypt

Aroyal scribe in the r= eign of Amenem= ha I. of the = XIIth dynasty. He was the author of an historical work called "The Instructions of Amenemha I. to his son Osirtesen," which has been often published. (1= 876c1)

$H Ennead. Egypt

Ennead: the nine cosmic gods of the Heliopolitan cult.(1894e1)=

A cycle of nine deities, of whom one was chief and the others his assistant= s. This cycle represents sometimes the entire Egyptian Pantheon and at others the gods of the particular locality. The most important was the Heliopolitan ennead. It consisted of Tum-Ra as chief, Shu and Tefnut= , their children Seb and Nut, and their grandch= ildren Osiris, Isis, Set and Ne= phthys; but the gods of the enneads were not always thus related to one another.(= 1902b1)

$H Enneapylae. Architecture

(Arch.) A fortified enclosure surrounding the Acropolis at Athens. It was so called because it had nine gates.(1891a1)

Pel. (= ¦<<= X"[=3Dennea] and = Bb= 8"= 4[=3Dpulai]). Literally, nine gates; a fortified enclosure constructed by the Boeotian Pelasgians round the Acropolis of Athens, some years after the Trojan war. Xerxes destroyed the enneapylae after the capture of Athens<= /st1:place>. A few fragments of it remain to this day, not far from the temple of the Wingless Victory.(1883m1)

$H Enotia. Gr. (Lat. inau= res). EAR‑RINGS (q.v.). (1883m1)

$H Enrich.

To enrich is to deco= rate, to adorn with various and sumptuous ornaments. Thus we say that a book is enriched with cuts when it is illustrated with vignettes.(1891a1)

$H Enrockment. Architecture

(Arch.) A base forme= d of enormous rocks or massive blocks of stone immersed in water, and serving = as the foundation of a fountain or as the piles of a bridge.(1891a1)