$H Etalon. Architecture

(Arch.) The tracing of the plan of a building on the v= ery spot where it is to be constructed and on the exact scale on which it is = to be built.(1891a1)

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

(Engrav.) The word etching is derived from the Dutch word etsen, to eat, and denote= s a process of engraving in which the incised lines are obtained not laboriou= sly by working with the graver but by the action of acid. The plate to be etc= hed upon is covered with an etching ground (q.v.), great care being taken to = lay this ground equally all over the plate. The drawing or picture to be reproduced is then traced with an etching needle, which removes the ground wherever it is applied, and so exposes the plate. The plate is then put in acid and the exposed parts are bitten in. The acid used is diluted nictric acid. If a plate is to be re‑bitten i= t is covered with a ground once more, but this time the ground is only passed lightly over the plate with a roller (q.v.). so as to cover the portions upon which the ground was formerly, but to leave the lines exposed. The ground is then removed altogether, and the plate may at once be inked and impressions struck from it.(1891a1)

In this process the copper plate is covered with an = etching‑ground, which is a preparation of bees'‑wax, Burgundy pitch, black pitch, and asphaltum (or other ingredients); and the lines of the design are traced out with etching‑needles, which rem= ove the etching‑ground from the copper wherever they pass, and slightly scratch the surface of the plate. Next, a border of banking‑wax is put round the sides of the plate, making= a trough of it. The banking‑w= ax is made of bees'‑wax, common pitch, Burgundy= pitch, and sweet oil melted in a crucible and poured into cold water. The next operation is to pour in nitrous acid reduced with water to a proper strength (about one part acid to four parts water). When the acid has bee= n on a sufficient time to corrode the fainter parts of the subject, it is to be poured off, the plate washed with water, and left to dry. These fainter p= arts are then to be varnished with a mixture called stopping‑ground, made of lamp‑black and Venice turpentine, applied with a camel's‑hair pencil. This stops the furt= her action of the acid on these parts. When the surface is dry, fresh acid is poured on to bite in the bold= er parts, and the processes of stopp= ing and biting in are alternated = for every gradation of tint. The wax is removed from the plate by heat, and cleaned away with a rag moistened with olive oil; and the work is then complete, or it may be finished off with the graver. Etching‑= ;points or needles resemble common ne= edles, fixed in handles four or five inches long; some are made oval to produce broader lines. The dry point = is only a very fine‑pointed needle for the delicate lines. Imitations = of chalk and pencil drawings are sometimes produced by etching on soft ground. Etching on steel is done in the same way as on copper. For etching on glass, a ground of bees'‑wax is laid on, and= the design traced as above. Sulphuric acid is then poured on, and fluor‑= ;spar sprinkled on it, or fluoric acid may be at once used; this is allowed to remain four or five hours, and is then removed with oil of turpentine. (S= ee also STIPPLE, MEZZOTINTO, AQUATINTA.)(1883m1)

--- $H Et= ching Ball.

The etching‑gr= ound when formed into a compact mass and enclosed in a piece of silk is called= an etching‑ball. It is in this form that it is laid upon the plate. It= is generally spherical in form as in the cut, but sometimes the ground is ob= tained in small sticks, resembling sticks of Indian ink. ILLUS. etchingb(1= 891a1)

--- $H Et= ching Ground.

The ground used in e= tching is the substance which covers the plate and resists the action of the aci= d. One ground frequently used is composed of white wax, gum mastic, and bitu= men. It is formed into balls and enclosed in a piece of silk; it is then laid = on the plate and made level with a dabber (q.v.). When the ground is to be l= aid, the plate must be heated to a proper temperature, so that the substance composing the ground may melt through the silk. Another method of laying = the ground is to mix it with oil of lavender and lay it directly with a rolle= r. ILLUS. etchingg(1891a1)

--- $H Et= ching Needle.

The sharp‑poin= ted instrument which etchers use for drawing upon the copper plate. It is not intended to cut into the plate itself, but only to scrape away the ground= and so expose it to the action of the acid. ILLUS. etchingn(1891a1)

$H Etchings.

The impressions stru= ck off on to paper from an etched plate. The early impressions or proof‑et= chings are printed on Japanese paper (q.v.), and are often very costly.(1891a1)<= o:p>

$H Eterea.

Eterea of Padua. One of the Italian literary academies. Their device, a charioteer in his = car in the air, drawn by a white and black horse, the one endeavouring to tou= ch the earth, the other to ascend. Motto, "Victor se tollit ad auras."(1883m1)

$H Ethaeos.

The Greek form of the name of an unidentif= ied Nabathean deity. (1876c1)

$H Ethausva.

The Etruscan goddess who aided women in childbirth, she was the analogue of the Greek goddess Eileithyia. (1876c1)

$H Ethbaal.

Another form of the S= idonian royal name Tubahal, which see. (1876c1)<= /o:p>

$= H Ethbaal I. "Man of Baal." (?)

A king of Tyre, of = whom next to nothing is known. His name is the Ithobalus of the Greek writers. (1876c1)=

$H Ethbaal II.

A Tyrian who w= as raised to the throne of Tyre, after the conquest o= f the island by Sennacherib, and the forced abdication of the king Eluli, which see. (1876c1)

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

King of Tyre. He united with Uaprahet, king of E= gypt, against Nebuchadnezzar, king of Babylon,= who, having driven the Egyptian army into Egyp= t without even daring a battle, attacked and blockaded Tyre. For thirteen years the siege lasted, "till every head was made bald and every shoulder peeled," and then Tyre fell, and its importance thus finally destroyed, Eth= baal and his family being carried away captives into Babylon. After this Nebuchadnezzar ra= ised a native named Baal to the titulary honour of tributary king of = Tyre.(187= 6c1)

$H Ethiopia.

An independent country to the South of Egy= pt, called Noub by the Egyptians, Milukha by the Accadians, and Ku= su by the Semitic Assyrians. It was early annexed to the Egyptian empire by = the marriage of Aahmes I. with the princess Nofretari of the XVIIIth dynasty. (1876c1)

$H Ethnographic.

A term applied to al= l that relates to our knowledge of various races from the point of view of their distinctive characteristics. Hence artistic works which reproduce the typ= es of foreign races are termed ethnographic. Scenes of the East and Algeria<= /st1:place>, such as those of Decamps and Gerôme, ma= y be called ethnographic paintings.(1891a1)

$H Etiolation.

The process of blanching to which plants are subject= in dark places.(1883m1)

$H Etoile. Heraldry

(Her.) A synonym for= star. The heraldic star consists of five rays issuing from a centre.(1891a1)

$H Etruscan= Vases.

The first painted Gr= eek vases which were brought to light in modern times were discovered in Etruria<= /span> about the end of the 17th century. The learned men of that time at once concluded that they were the work of Etruscan potters, and they were long known as Etruscan vases. This appellation was proved to be erroneous by Winckelmann and others, and has= now been discarded. The majority of the so‑called Etruscan vases were indeed of Greek workmanship, and were imported into Italy in very early times. At the same time many vases were dug up in Italy which had no doubt been made in Etruria in imitation of the productions of the Greek potters. ILLUS. etruscan(1= 891a1)

$H Ettwee. O.E. for ETUI (q.v= .). (1883m1)<= /span>

&n= bsp;

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

Étui. A case of gold or silver, richly chased, whic= h was worn by ladies at their girdles in the 16th and 17th centuries. It was the forerunner of the modern chatelaine.(1891a1)

Etui, Fr. (by contraction Twee, Boyer). A case formerly worn at the girdle by ladies. T= hey were made of gold or silver, or ornamented with paintings in enamel. The richly‑decorated example represented in Fig. 299 was the property o= f a granddaughter of Oliver Cromwell. Fig. 299. Etui.(1883m1)

$H Etura. "House of Rest= ." (?) Chaldaea

In Chaldean astronomy an unidentified fixed star. (1876c1)

$H Etymander.

The Greek name of the district anciently called Hoetumat, which see. (1876c1)

$H Euisidosses.

The king of Idalion, successor of Pythagoras, in the fourth century B.C. (1876c1)

$H Euripus. Roman

Euripus R. (= ,Ü= D4= B@= H[=3Deuripos]). An artificial canal or watercourse in the gardens of a Roman villa, gener= ally stocked with fish and aquatic or amphibious animals. The same term was applied to a moat dug at the foot of the podium in an amphitheatre or circus, which was intended, in conjunction with the metal railings or trelliswork placed at the top of the podium, as a protection to the spectators, when wild beasts w= ere exhibited in the arena. Euripus is also applied by Tertullian and other authors to the spina of a circus.(1883m1)

$H Eurythmia.

In architecture eurythmia refers to beauty of proportion,= in painting and sculpture to grace of composition and to the harmonious balancing of the lines in a figure or of the groups in a large compositio= n.(1891a1)

$H Eustace, St.

A legendary saint, frequently represented in Christian art. He was a Roman soldier, and befo= re he assumed the name of Eustace, which he did on his conversion, he was ca= lled Placidus. Like St. Hub= ert (q.v.) he became a Christian on seeing a white stag with across between i= ts horns. He endured many tribulations, losing for a while his wife and children, and finally being burnt alive in a brazen bull, but he remained steadfast in the faith. In pictures he appears in the costume of a Roman soldier and holds a palm branch; near him stands the white stag to which = he owed his conversion.(1891a1)

$H Eustyle. Architecture

(Arch.) A eustyle temple is one in which the intercolumniatio= n or distance between the columns surrounding it is equal to two and a quarter diameters of the column measured near the base.(1891a1)=

Arch. (= ,Ü‑= FJ= L8= @H[=3Deu‑stulos]). An intercolumni= ation in which the columns are separated by a width of two diameters and a quar= ter, measured at the lower part of the column, excepting the central intercolu= mn, which is of three diameters. It is the form of columniation which, accord= ing to Vitruvius, satisfied the demands at once of solidity of structure, bea= uty of appearance, and general harmony of effect.(1883m1)

$H Euterpean.

Pertaining to music: from the Muse Euterpe.(1883m1)<= /p>

$H Euturpa.

The Etruscan form of the name of the muse = Euterpe of the Greeks. (1876c1)

$H Evagoras I.

A king of Salamis, in Kypros (Cyprus). He reigned from B.= C. 410 to B.C. 375(1876c1)

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

A king of Idalion, or of Kition and Idalion= , about B.C. 353. (1876c1)

$H Evagreton.

A Cretan who with his wife, Mnestasa, is mentioned in a Ky= priote inscription in the Cesnola collection.(1876c1= )

$H Evangelists, The Four.

The earliest represe= ntations of the four evangelists are purely symbolic. They are figured as four scr= olls or books in the angles of a Greek cross, then as four rivers flowing from= a rock, upon which stands a lamb, the symbol of Christ. T= hey then appear as the four beasts mentioned in Ezekiel as supporting the thr= one ‑ a cherub, a lion, a bull, and eagle. They were next represented as monste= rs, half men and half beasts, holding books or scrolls. St. Matthew alone had= a human face, the others had the head and feet of a lion, bull, and eagle respectively. For their individual attributes, see under their separate headings. ILLUS. evangeli(1891a1)

$H Evechous.

A mythical Chaldean king, the founder of the Ist Chaldean dynasty. His name is at present only to be met with in the lists of Berosus: it was possibly Avil-= Kush. (1876c1)

$H Evelthon.

A king of Salamis, in Kypros (Cyprus), about the fourth c= entury B.C. (1876c1)

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

Everriculum R. (everro, to sweep out). A fishing‑net.(1883m1)

$H Evil Eye. Egypt

There is distinct evidence that this superstition existed among the old Egyptia= ns. There is a record of a book stored in the library, of the temple of Dendera which treated= of the turning away of the evil eye. A favourite woman's name was Stau-ar-ban, which means "she who turns away t= he evil eye."(1902b1)

$H Evil-<= span class=3DSpellE>Merodach. Or Avil-Marduk. "Man of= Marduk."

The son and successor of Nabukudurozur on the throne of Babylon. He reigned only two years, when he was assassinated by his brother-in-law= Nergalsarussur, the son of the usurper Bellabarisruk. (1876c1)

$H Evrphia.

A female figure, who is represented on an Etruscan mirror as dancing before Faün. (1876c1)

$H Ewer. Pottery

(Pot.) A vase of graceful shape, with a handle and gullet and mounted on a foot. The purpose to which the ewer was originally put was to contain wat= er at table. Benvenuto Cell= ini produced ewers which were masterpieces of art, and one, in which is represented the combat between the Centaurs and Lapi= ths, is particularly celebrated. In modern times ewers have been made of gold = and silver and even more precious materials, while gems have been lavishly employed in their decoration. The ewer is above all a decorative vase, and lends itself admirably to richness both of material and design. ILLUS. ewer(1891a1)=

$H Ewery. Mediaeval

Med. An office of household service, where the ewers, &c., were kept: our modern sc= ullery.(1883m1)

$H Exacisculatus.

Exacisculatus R. Destroyed by means of a pick (acisculus). The term is of frequ= ent occurrence in sepulchral inscriptions, its purpose being to serve as a no= tice to the thieves who broke into tombs.(1883m1)

$H Examen.

Examen R. (e= xigo, to examine). The tongue or index on the beam of a balance.(1883m1)

$H Exasciatus.

Exasciatus R. Hewn or fashioned with the adze (ascia); whence the expression opus exasciatum for work which o= nly required to be finished or polished.(1883m1)

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

Excalceatus R. (lit. without shoes or boots). A comic actor or comedian who wore sandals. The tragic actor, on the other hand, = who wore on the stage the laced boot or cothurnus, was called cothurnatus.(1883m= 1)

$H Excavation.

Excavation denotes t= he hollowing out of the ground to make space for foundations, which precedes= the construction of every building. The term is also applied to the digging up and bringing to light of long‑hidden and forgotten works of art. It= is to the work of industrious excavators that almost all our knowledge of the monuments of ancient art is due. Of the great results of which scientific excavation is capable, the best evidence is afforded by the important discoveries made in the plain of Olympia by the German Government. This enterprise was undertaken with a full knowledge of what might be found th= ere, and the expectations of the savan= ts who carried it out were accurately fulfilled.(1891a1)

$H Excubitorium.=

R. The post or guard of the excubitores; of these there was one in each quarter of the ci= ty, or fourteen in all.(1883m1)

$H Excudit.

We often find upon p= rints an inscription such as the following: Marc Antonio sculpsit, Antonio Salamanca excudit. This means that the impression before = us was printed from a plate engraved by Marc Antonio and published by Antonio Salamanca. The part played by the publisher was of some importance, for he frequently retouched the plates which he issued.(1891a1)

$H Execution.

The technical part o= f an art, including skill of hand and profound knowledge of technique. A badly composed picture may show immense skill in execution. The qualities of execution differ absolutely from those of composition, and many artists w= ho have never displayed any fertility in the choice of subjects or knowledge= of composition are sometimes in the very front rank as far as execution is concerned. Mr. Ruskin's definition of execution is "the right mechan= ical use of the means of art to produce a given end."(1891a1)<= /span>

$H Exedra. Architecture

(Arch.) A semicircul= ar bench, resembling in form those on which the philosophers and rhetoricians sat in ancient times. In Christian basilicae = an exedra is placed on each side of the episcopal throne in the centre of the apse and raised some steps above the general level of the floor. Some authors term these exedrae<= /span> subsellia. It was upon them that the priests took their seats at official meetings. ILLUS. exedra(1891a1)

Gr. and R. An assembly‑room or hall for discus= sion or conversation, forming part of a gymnasium, palaestra, or private house= . In many cases exedrae were in th= e open air, consisting merely of circular marble benches. (Fig. 300.) When an ex= edra was covered in, one of the sides often terminated in a circular apse (absis). [Larger rooms were called "Leschai."] Fig. 3= 00. Exedra.(1883m1)

$H Exedrium. R. Diminutive of EXEDRA (q.v.). (18= 83m1)

$H Exequiae. (See EXSEQUIAE.= ) (1883m1)

$H Exercise. =

A model given to a p= upil to copy to familiarise him with certain difficul= ties. A composition on a given subject set for the purpose of accustoming stude= nts to compose pictures and arrange groups.(1891a1)

$H Exergue.

The bottom space on a coin, where the date is engrav= ed.(1883m1)

The space on the fie= ld of a coin or medal outside the main design, upon which an inscription, device,= or date is inscribed. The term is also applied to the inscription itself. So= me medals have a different exergue on each face. Sometimes there are two exergues on the same face of a medal or coin, arranged symmetrically with regard to its diameter. ILLUS. exergue(1891a1)

$H Exhibition.

A temporary collecti= on of works of art got together sometimes for the purpose of sale, sometimes for the illustration of the work of some particular artist or period. The fir= st public exhibition of English art was held in April, 1760, since which yea= r an exhibition has been held annually. From the time of the establishment of = the Royal Academy in 1768 this exhibition = has been under the auspices of that body. During the last ten years many exhibitions have been established in rivalry with those held by the Acade= my.(1891a1)

$H Exiteria.

Exiteria Gr. and R. (= ¦>= 4J= ZD= 4"[=3Dexiteria], concerning departu= re or result). Sacrifices offered to propitiate the gods on the eve of an impor= tant enterprise, or in gratitude for success.(1883m1)

$H Exomis. Graeco-= Roman

Exomis Gr. and R. (= ¦>‑= T:= ÂH[=3Dex‑omis], i.e. off the shoul= ders). A short tunic, of Greek origin, adopted by the Romans. It left the right shoulder and arm exposed, and had only a short sleeve for the left arm. T= he term was also applied to the pall= ium, when so arranged upon the person as to resemble the tunic just described.= (1883m1)

(Cost.) A short slee= veless tunic, which left the right arm and shoulder quite free and unimpeded. It= was worn by both Greeks and Romans, especially by those who were engaged in active physical toil. ILLUS. exomis(1891a1)

$H Exonarthex. (See NARTHEX.)<= /span> (1883m1)

$H Exostra.

Exostra Gr. and R. (= ¦>= fF= JD= "[=3Dexostra]).

(1) A flying bridge thro= wn from a movable tower (acrobaticon)= on to the walls of a besieged town, by means of which the assailants made their= way into the place.

(2) A theatrical machine= which was pushed to the front of the stage from behind a curtain which conceale= d it until it was wanted.(1883m1)

$H Expeditus.

Expeditus (opposed to impeditus), R. Free, unencumbered; light‑armed troops (velites) were thus called (expediti), [or any other troops, when they left their impedimenta behind for a forced march, &c.](1883m1)

$H Expert.

A term applied to th= ose who are, or believe themselves to be, connoisseurs in works of art and make a profession of their real or supposed knowledge. The catalogues of public auction sales afford us proofs of the frequent ignorance of experts even = of modern pictures. In certain legal cases, experts generally chosen from th= e body of artists of repute, are called upon to give evidence.(1891a1)

$H Expositories.= (See MONSTRANCE= S.) (1883m1)

$H Expression.

A figure is said to = have expression when in its interpretation the character of the subject is well represented. It is in the treatment of the face and especially of the eye that artists display their power of setting forth expression.(1891a1)

$H Exsequiae.

Exsequiae R. (exsequor, to follow after). A funeral conducted with great pomp. (See FUNUS.)(1883m= 1)

$H Exterior.

The outside of a bui= lding, as opposed to the interior or inside.(1891a1)

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

R. (exta= and inspicio, to inspect). Divinatio= n by inspection of the entrails of victims sacrificed on the altar; called als= o haruspicina.(1883m1)

$H Extrados or Extra‑dos. Architecture

Extra‑dos, Arch. The exterior curve of an arch; opposed to the SOFFIT or INTRA‑DOS.(1883m1)

Extrados. (Arch.) Th= e upper convex surface of a vault or arch; the curve formed by the upper side of = the voussoirs= (q.v.). ILLUS. extrados(1891a1)

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

(Arch.) A term appli= ed to arches, the extrados of which is formed of stones regularly squared and n= ot left in their natural condition.(1891a1)

$H Extremities.

In Art, the head, feet, and hands: compare acrolithes.(1883m1)

A term used in artis= tic language for the arms and legs and more especially for the hands and feet= of the human figure. Thus we speak of "extremities badly drawn," o= r of "extremities painted with consummate knowledge and skill."(1891= a1)

$H Ex‑voto.

Gen. Offerings of any kind in fulfilment of a vow (ex voto).(1883m1)

A tablet of marble b= earing an inscription, or an inscription upon the walls of a religious edifice setting forth the accomplishment of a vow, or intended to keep green the memory of some favour obtained. In Catholic countries, in chapels in the neighbourhood of= the sea, we often find pictures of ships in distress with the Virgin appearing through the clouds. The connections of these rude paintings with art is, however, very slight.(1891a1)

$H Eye. 1. Christian; 2. Architecture; 3. Symbolism

In Christian art, the emblem of Providence. Attribute of St. Lucia, as a symbol, not of her martyrdo= m, but of the meaning of her name ("light"). (See OUDJA, OCULUS.)

(Arch.) A term used = to denote the centre of an Ionic capital, as well as the circular opening in= the summit of a dome and the small circle in the centre of a rose window. From within the eye of a volute, following the sides and diagonals of a square inscribed within a circle we can determine with a compass the contour of a volute, as is shown in our second cut. In symbolic art the eye has always been the emblem of watchfulness and so of the divine power. Among the Egyptians Osiris was typified by an eye, and = in early Christian art the eye stands for the Providence which sees all things. ILL= US. eye(1891a1)<= /p>

--- $H "Eye of Horus." Egypt

"An expression denoting any God-sent gift." (Erman<= /span>.)(1902b1)

--- $H Ey= e, the Sacred. Egypt

The sacred eye, or the eye of Ra, or heaven, is the sun, a poetic symbolism used by poets throughout time, "heaven's eye" being a frequent Shakesperian phrase. Horus says, "I am he who resides in the middle of the eye." But there= are usually two eyes represented, and called the eyes of Horus, a left and a right. They sometimes represent, the right the sun, and the = left the moon; but some other meaning must be inferred when it is said of Ra, "Thou openest the two eyes and earth is flooded with rays of light." W= hen Ra says "Call unto me mine eye," he refers to the goddess Sekhet (q.v= .). Another text speaks of Kadesh as the "ey= e of Ra," and "eye of Tum." The Egy= ptian word for this eye is Uzat or Utchat (q.v.), which signifies "= ;the healthy" or "flourishing."(1902b1)

$H Eye‑shade.

A piece of green car= d which engravers wear on their foreheads. It projects like a visor, shields the = eyes from the rays of light, and so renders the sight more distinct.(1891a1)

$H Ezama.

A mountain people on the borders of Media = and Susiana, conquered by Sennacherib. (1876c1)