$H Fabaria.
|
R. Offerings of bean=
‑flour
(faba)
made by the Romans on the 1st of June to the goddess Carna;
from these offerings the calends of June took the name of fabariae.(1883m1) |
$H Fabatarium.
|
R. A large earthenwa=
re
vessel in which bean‑flour (puls fabacia) was served boiled up with water or bro=
th. It
formed a kind of polenta.(188=
3m1) |
$H Fabrica.
|
R. (faber, an artisan). The s=
hop in
which an artisan works, chiefly a joiner's or carpenter's shop.(1883m1) |
$H Fabrilia.
|
R. A general term, i=
ncluding
all the different kinds of tools used by an artisan.(1883m1) |
$H Façade or Facade. Architecture
|
FACADE. (Fr.) The principal front of a building. (1855f1) |
|
Arch. The face or front of a building.(188=
3m1) |
|
(Arch.) The
outside surface of a building; especially the principal front, which is t=
he
most exposed to view and is more richly decorated than the rest of the
edifice. The chief entrance to a building is generally to be found in the
façade.(1891a1) |
--- $H Fa= çade, Composite.
|
A façade orna=
mented
with entablatures of different orders. The west front of |
$H Face. Painting
|
(Paint.) The front p=
art of
the head from the forehead to the chin. Expression and individuality are =
to
be looked for in the face, and the importance attached to the proper
representation of the face in portrait‑painting may be gauged by the
fact that in the 16th and 17th centuries portrait‑painters were cal=
led
face‑painters. In architecture a flat moulding=
or a broad smooth surface is termed a face.
Thus we speak of the face of =
an
architrave.(1891a1) |
$H Face‑guard.
|
On a helmet, a bar o=
r bars
of iron protecting the face.(1883m1) |
|
FACE-GUARD. A protection appended to the f=
ront
of a helmet to protect the face from a sword cut. It sometimes consisted =
of
simple bars of metal, which could be lifted above the front of the helmet
when not used. * These useful
protections originated in the East, where helmets are made with a single =
bar
passing down the front of the face, which can be lifted at pleasure. * =
See cut
to ARMET. Fig. 2. p. 40.
(1855f1)
|
![](3D"f_files/image015.jpg")
$H Face‑painter.
|
An old term which was
applied in the 15th and 16th centuries to a portrait painter, the accurate
representation of the features being regarded then as the end of and aim =
of
portrait‑painting.(1891a1) |
$H Face‑painting. Old English
|
O.E. Portrait‑=
painting.(1883m1) |
|
The old te=
rm for
portrait-painting, hence the practiser of the Art, however high in talent,
was simply termed a face-painter by writers of the sixteenth and seventee=
nth
centuries. (1855f1) |
$H Facet or Facets.
|
Facets (Fr. facette=
, a
little face). The flat surfaces cut upon precious stones.(1883m1) |
|
Facet. A small smooth
surface, especially that surface between the angles of diamonds or crysta=
ls
which is sometimes natural, sometimes obtained artificially by
cutting.(1891a1) |
|
FACET. The surface formed by the ang=
les of
crystals, or those which are artificially cut upon precious stones. (1855=
f1) |
$H Facial Angle.
|
The angle formed by =
two
lines, one horizontal from the nostrils to the ear, the other perpendicul=
ar
from the nostrils to the forehead.(1883m1) |
$H Facility.
|
FACILITY. =
Rapidity
of hand, and ease of delineation; doing that properly by a few simple tou=
ches
which others bestow much labour and time upon. (1855f1) |
$H Facing. Architecture
|
(Arch.) When a rough=
wall of
brick or stone is covered with a thin coat of a better material, such as
marble or plaster, this outer coating is called a facing.(1891a1) |
$H Fac‑simile or = Facsimile.
|
Fac‑simile (fr=
om Latin
factum, made, and simile, like). A perfectly exact
copy.(1883m1) |
|
FAC-SIMILE=
. (Lat.) An exact imitation of any =
work
of Art, the word being compounded from facio
(to make), and similis
(resemblance). (1855f1) |
|
Facsimile. An exact
reproduction, obtained sometimes by artistic means, but more often by pur=
ely
mechanical processes, such as photography, heliograv=
ure,
&c. In the last century facsimiles of the drawings of the old masters
were produced by means of line engraving. In these facsimiles not only the
touch of the artist but even the tone of old paper was reproduced. ToR=
09;day
the processes of engraving which depend upon photography have rendered ea=
sy
the production of extraordinarily accurate facsimiles. The term is also
applied to reproductions of hand‑writing, signatures, marks, and
monograms, with which books are sometimes illustrated.(1891a1) |
$H Factitious.
|
FACTITIOUS. (Lat.)
Anything imitative, in contradistinction to the real or natural. (1855f1)=
|
$H Factorium.
|
(sc.
vas), R. A vessel containing
exactly a factum, or quantity=
of
grapes or olives proper to be placed under the press (torcular) at one factum or making.(1883m1) |
$H Faculae.
|
R. Little torches.(1=
883m1) |
$H Faded.
|
A term applied to |
$H Fae=
nza
|
A manufacture of pottery considered by some writers =
to be
the most ancient in Fig. 301.
|
![](3D"f_files/image016.gif")
$H Fae=
nza
|
A name given to majo=
lica
from the little town near |
$H Fai-bok-ra-nef. Egypt
|
A prophet priest of the |
$H Faience, Faïence, or F= ayence. Pottery
|
Faience. (See FAYENCE.)(1883m1) [Editor, when you go= to FAYENCE, it only says "Pottery"] |
|
FAIENCE, FAYENCE. (Fr.) A general term comprising all the various kinds of glazed
earthenware and porcelain. The origin of the term is open to dispute; by =
some
it is supposed to be derived from * =
See
Marryatt's History of Pottery and Porcelain. |
|
Faïence. (Pot.)=
Just as
|
--- $H Fa= ïence, Common.
|
A faï=
ence
generally porous, of a red or yellow tint, with an opaque white or varnis=
h coloured glaze. (1891a1) |
--- $H Fa= ïence, Fine.
|
A faïence consi=
sting of
silica, alumina, and sometimes lime. Its paste is porous, white, absorben=
t,
and opaque, and its glaze is transparent and has protoxide of lead as its
base. (1891a1) |
--- $H Fa= ïence of Henri II.
|
A very rare faï=
ence of
the Renaissance period, composed of plastic, c=
lay,
and flint, or quartz ground very fine. Lead enters in the composition of =
its
glaze. There are only fifty‑six specimens of it in existence, twent=
y‑eight
in |
$H Fai-hon. Egypt?
|
An overseer of the gatekeepers of the royal
palace. Period uncertain. (1876c1) |
$H Fai-hor-ouser . Egypt
|
An Egyptian gentleman, the husband of the =
lady
Sotemeit, the son of the lady Setakarf,
and father of the prefect of the palace Ratoker, in
the XXVIth dynasty. (1876c1) |
$H Fai-iri-ei. Egypt
|
A royal scribe, whose monument is in the <=
st1:place
w:st=3D"on"> |
$H Fai-iten-hemh-bai . Egypt
|
An Egyptian priest, the son of the lady |
$H Failli. Heraldry
|
(Her.) This term is =
used by
French heralds to denote a failure or break in an ordinary. It is special=
ly
applied to a chevron divided into several pieces as shown in the accompan=
ying
cut. ILLUS. failli(1891a1)
|
![](3D"f_files/image017.gif")
$H Fai-nofre . Egypt
|
An Egyptian royal scribe, whose monument i=
s in
the |
$H Fai-nofre-bai. Egypt
|
A prophet or priest of Osiris, in the reig=
n of
Rameses III. of th=
e XIXth dynasty. (1876c1) |
$H Fairy Butter. Old English
|
Fairy Butter. O.E. (=
1) A
fungous excrescence about the roots of trees, and (2) a species of |
$H Fairy Circles.
|
Fairy Circles. Circl=
es of
coarse green grass common in meadows, and attributed to the dancing of the
fairies.(1883m1) |
$H Fairy Dances. &nbs= p; See FAIRY CIRCLES (q.v= .). (1883m1)
$H Fairy Darts.
|
Small flints in the =
form of
arrow‑heads, possibly of the stone age.(1883m1) |
$H Fairy Faces.
|
Fossil echini or sea‑urchins.(1883m1) |
$H Fairy Groats.=
|
A country name for c=
ertain
old coins. (See Harrison's Englan=
d,
p. 218.)(1883m1) |
$H Fairy Loaves.
|
Fossils found in the=
chalk,
called also fairy faces.(1883=
m1) |
$H Fairy Money.
|
Treasure trove was so
called.(1883m1) |
$H Fairy Pipes.
|
Small old tobacco=
209;pipes,
frequently found in the north of England.(1883m1) |
$H Fairy Rings. (See FAIRY CIRC= LES.) (1883m1)
$H Fairy Sparks.
|
Phosphoric light see=
n on
various substances in the night time. (Halliwell.).(1883m1) |
$H Fairy Stones. (See FAIRY LOAV= ES.) (1883m1)
$H Faith.
|
Faith, in Christian =
art, is
represented by a female figure holding the Eucharistic cup.(1883m1) |
|
FAITH (FID=
ES). In
ancient Art is represented as a matron, wearing a wreath of olive or laur=
el
leaves, and carrying in her hand ears of corn, or a basket of fruit. In C=
hristian
Art, by a female carrying a cup surmounted by a cross, emblematical of the
Eucharist, "the Mystery of Faith." (1855f1) |
$H Faith, St.
FAITH, ST.=
A
virgin martyr in the fourth century, who was tormented on an iron bed, and
afterwards beheaded. She is, therefore, generally represented with
these attributes. (1855f1)
|
$H Faith, Hope, and Charity.
|
FAITH, HOP=
E, AND
CHARITY. Three sisters, of the ages of nine, ten, and twelve, who, accord=
ing
to the old legend, suffered martyrdom by being beheaded, A.D. 120, and we=
re
buried by their mother, Sophia. The names of these children lead to the
supposition that this was a poetical legend, arising probably from some
incident at the time of the Christian persecution; for however beautiful =
it
may be to personify mental or religious emotion, it is repugnant to our
feelings to believe in the martyrdom of the children representing the ide=
as
which form the basis of our religion of love. Art has, however, taken the
unpoetical view of this story, and the children have been depicted with a
sword, the sign of trial. The martyrdom of these daughters of Sophia (or =
Divine Wisdom) is said to have t=
aken
place on the 5th, 6th, or 7th of October. Charity or Love, the greatest of
the Christian virtues, is often represented as a mother, with Faith and H=
ope
as her children. Such a group is called a Charity, Caritas (Italian, CARITA). (1855f1) |
$H Fala.
|
R. A wooden tower us=
ed in
the siege of a fortified place, but the exact form of which is unknown; it
differed from the ACROBATICON.(1883m1) |
$H Falae.
|
Phalae or Falae. R. =
Wooden
towers which were erected temporarily in a circus for the display of sham
fights and captures of cities. (Compare PEGMA.)(1883m1) |
$H Falarica or Phalarica.
|
Falarica or Phalarica. R. A
heavy spear, used by the Saguntines, which was
generally discharged from a balista. Its shaft was sometimes enveloped with sulphur and resin, and with tow steeped in oil; and=
it
was launched blazing against wooden towers for the purpose of setting the=
m on
fire.(1883m1) |
$H Falbala. (See FURBELOW.)= (1883m1)
$H Falcastrum.
|
R. (falx, a sickle). An
agricultural tool with a curved blade for tearing up weeds.(1883m1) |
$H Falcatus.
|
R. Furnished with sc=
ythes (falces)=
. (See
CURRUS.) (1883m1) |
$H Falchion.
|
Falchion. A broadswo=
rd,
spelt "fawchon;" 14th century. (See
FALX.)(1883m1) |
|
Falchion. A sword of
uncertain form used in the Middle Ages. In all probability it resembled t=
he
German sabre=
,
and was used as being lighter than the broadsword.(1891a1) |
|
FALCHION. A broad-sword with a slightly
curved point, in extensive use during the middle ages, from its convenient
form, it being shorter than the ordinary military sword, and less heavy. =
(1855f1) |
$H Falcicula. Dimin. of falx. (1883m1)
$H Falciform.
|
FALCIFORM (L=
at.)
Taking the form of the falx or hook. (1855f1) |
$H Falcon.
|
Falcon, in mediaeval=
art, is
the attribute or a gentleman, in allusion to the restrictions of the
sumptuary laws.(1883m1) |
|
FALCON. A =
bird of
prey used extensively for hawking in the middle ages, and hence continual=
ly
represented as held in the hand of persons of the upper classes, in media=
eval
works of Art, as a symbol of gentility; it being restricted to their use =
by
sumptuary laws. It is an attribute of St. Edward, the king and martyr, as
well from his rank as from the circumstance of his murder at |
|
Falcon (Her.) The bi=
rd of
prey used by sovereigns and nobles for hawking is a frequent charge in
heraldry. It is sometimes represented on a perch. In some coats of arms t=
he
falcon wears a mantle embroidered with fleur‑de‑lis attached =
to
its neck by a ribbon. In symbolic art the falcon
is the emblem of royalty or nobility, for the sport of hawking was restri=
cted
by law to kings and nobles. ILLUS. falcon(1891a1)
|
![](3D"f_files/image018.gif")
$H Falcula. Dimin. of falx= .(1883m1)
$H Faldestol.
|
O.E. An elbow‑=
chair of
state; modern "fauteuil.=
"
(See FALDSTOOL.)(1883m1) |
$H Falding.
|
(A.S. feald). A kind of coarse =
cloth,
like frieze.(1883m1) |
$H Fadistory [See Faldstool= - Editor]
$H Faldstool, Faldistory, Folding-stool. Old English
|
Faldstool, Faldistory. O.E.
A folding‑stool, like a modern camp‑stool, used in cathedral
church services in Saxon times.(1883m1) |
|
Foldingstool, or Faldstool. A movable chair or stool, which folds up in very much the same manner=
as
the modern campstool. It was made of wood or metal, and sometimes covered
with some rich material, such as silk. In olden times bishops carried
|
|
FALDSTOOL, FALDISTORY, FOLDING-STOOL. A po=
rtable
folding seat, similar to a camp-stool, made either of wood or metal, and
sometimes covered with silk or other material. It was used by a bishop wh=
en
officiating in other than his own cathedral church. =
Faldstools
are frequently represented in illuminated manuscripts. * F=
IGURE * =
Our
first example is copied from Cotton MS., Tiberius, C. 6, a work of fhe Sa=
xon
period. The second shows a similar seat, covered with drapery, in the fas=
hion
the most usual, from another MS. of the same period. (Augustus, A. 13.)(1=
855f1)
|
![](3D"f_files/image019.gif")
![](3D"f_files/image020.jpg")
$H Fall or Falling‑band.
|
A large collar falli=
ng on to
the shoulders; 16th and 17th centuries. (See BANDS.)(1883m1) |
$H Fallals. Old English
|
Fallals. O.E. The fa=
lling
ruffs of a woman's dress.(1883m1) |
$H Fallhofner. Scandinavia<=
/st1:place>
|
Fallhofner. In Scandinavian
mythology the name of one of the horses of the gods. (1876c1) |
$H False. 1. Heraldry; 2. Architecture
|
False. Her. Said of =
any
charge when its central area is removed; thus =
an
annulet is a "false roundle."(1883m=
1) |
|
False. (Arch.) A term
applied to pretended mouldings or openings,
produced either in relief or by means of painting, which decorate a
façade or contribute to its symmetry.(1891a1) |
$H False Roof. Architecture
|
Arch. The space betw=
een the
ceiling of the garret and the roof.(1883m1) |
$H Falx.
|
R. A scythe, sickle,=
bill‑hook,
&c.; any instrument with a curved edge used for cutting grass, wood, =
or
other objects. There were many different kinds, which were called
respectively arboraria
and sylvatic=
a,
denticulata<=
/i>,
foenaria=
or veruculat=
a,
vinitoria,
vineatica,
and putatori=
a.
The term fal=
x
was also applied to a falchion strongly curved at the end. Falx supina<=
/i> was
a dagger with a keen and curved blade; falx muralis was an instrument employ=
ed in
warfare, both by sea and land, either to cut the masts and rigging of a
vessel, or to sweep the ramparts clear of defenders. [Culter is a knife with one
straight edge; falx,
one with the edge curved. Hence our falchion,
&c.](1883m1) |
|
FALX. (Lat.)
A generic term used by the classic nations to denote a curved cutting
instrument (sometimes with a serrated edge), similar in form to the more
modern scythe, sickle, and bill-hook, but which included instruments of w=
ar,
as well as of peace, if fashioned in that peculiar manner. † †
See cut of GLADIATOR, who holds one. (1855f1)
|
![](3D"f_files/image021.gif")
$H Familia. Mediaeval
|
Med. Lat. An old ter=
m for a
set of chessmen. Among the jewels in the wardrobe‑book of Edward I.
occur "una familia de ebore,
pro ludendo ad scaccariu=
m,"
and "una familia pro
scaccario de jaspide et crystallo."(1883m1) |
$H Famu. Not Thamu, as Gerhard.
|
Famu. Not Thamu, as Gerhard. A deity who is represented on an Etruscan mirror. See Alpanu<=
/span>.
(1876c1) =
WHICH SAYS: ALPA=
NU. Or ALPNU. An Etr=
uscan
goddess, with coronet, earrings, tunic, and mantle, and a star behind her
head, who is represented on one mirror as embr=
acing
the goddess Akhuvitr, on another as embracing=
the
goddess Thanr, and on a third as attracting t=
he
love of a youth called Famu. |