$H Fibrinae (vestes), Fibrinae (lanae). (See CASTOREAE.= ) (1883m1)

$H Fibula. Costume

FIBULA. (Lat.) A brooch, buckle, or clasp, used for fastening together various parts of = male and female attire, as well as for ornament. It was made of ivory, or gold, bronze, precious stones set in gold, and sometimes of silver, of every variety of form, upon which the most elaborate ornament was frequently bestowed. In ancient Art, we see the FIBULA employed to pin together the = two parts of a cloak or scarf (chlamys, pallium, &c.), so as to fasten them over the right shoulder. Sometimes, but rarely, we see it on the breast. In female costu= me it is seen worn on both shoulders, and sometimes on the sleeves. It was a= lso occasionally used to fasten the tunic when tucked up at the knee. † 3 FIGURES

† Our cut exhibits a bow-shaped gold FIBULA of the Roman period (Fig. 1); a= nd a flat circular enamelled fibula of the same age (Fig. 2). The side view (F= ig. 3) exhibits the pin by which it was fastened. (1855f1)<= /p>

Fibula. A kind of br= ooch or clasp. Ancient fibulae, as we= ll as those of the Middle Ages, were made of gold, silver, or ivory, and someti= mes ornamented with precious stones and chased with care. In museums and art collections many ancient fibulae of beautiful workmanship are to be seen.= In ancient times the term fibula was applied to girdle‑clasps, which v= ery closely resemble the buckles which are used to‑day for the same purpose, and were provided with a movable tongue. [Brooch.] 2 ILLUS. fibula1, fibula2(1891= a1)

&nbs= p; &= nbsp;

Fibula. Gen. (figo, t= o fix). (1) A clasp, buckle, or brooch; any contrivance made of gold, silver, bro= nze, ivory, &c., used for fastening male or female attire. (2) The buckle = of a head‑band (taenia, vitta). Figs. 310 and 311 represent buttons and clasps belonging to the Gaulish and Merovingian periods. [The girdles of th= e Franks and Saxons, found in English tombs, were usually ornamented most profusely. Not only were the buckles (fibulae) of the richest workmanship, and conspicuous for size and decoration, but = they are sometimes supplemented by enchased plates, or plates set with precious stones. (Roach Smith.)] (See = Figs. 105 to 113.)

Fig. 310. Fibula. Gallic. Fig. 311. Fibula. Gallic.(1883m1)

&nbs= p; &nbs= p;

$H Ficelles.

A slang term applied= in Paris to the tho= usand and one tricks of the artist's trade ‑ to the painter's happy thoug= hts, due sometimes to chance, sometimes to patient research. At first sight, f= or instance, the foreground of a picture may appear to be executed by imposs= ible methods. A closer inspection shows us that, thanks to a "ficelle," it is quite simply painted. It is a = "ficelle" again when a sculptor sprinkles a mix= ture of acidulated water on the folds of his draperies, and by means of this <= span class=3DSpellE>colour accentuates the relief. Nor are "ficelles" unknown in the engraver's art. The h= ighest form of art, it is true, knows not "ficelles," but it cannot be denied that these dodges play an important part in the a= rt of modern times.(1891a1)

$H Fictile (Ware).

Fictile Ware, Keremania, R. (fingo, to mould). Any object made of terra‑cotta or pottery, such as tiles, bricks, vases, &c. (See POTTERY.)(1883m1)

Fictile. (Pot.) The = term fictile was applied by the R= omans to pottery of every kind. Architectural ornaments and pottery of the high= est artistic merit were known as fict= ile, as well as the earthenware pots and pans in everyday use. The moulds and stamps employed in the potter's art were placed in the same category. Of = our cuts the upper one represents a stamp used by the ancient potter to make = the pattern which ran round the neck of a vessel, and the lower cut shows the pattern thus produced. [Pottery and Vases.] ILLUS. fict= ile(1891a1)

$H Fictilia or Fictile-= Ware.

FICTILIA, FICTILE-WARE, KEREMANIA. (Gr.= ) The term applied to all ancient pottery, including the finest works or casts in terra-cotta, as well as the comm= onest products in clay; from domestic utensils to architectural ornaments, coarse or fin= e, burnt, or only hardened by exposure to the air. The most plastic species = of clay for the finer kinds of pottery was round in <= st1:country-region w:st=3D"on">Etruria, and the earthen ta= ble-vessels of Arretium maintained their superiority even= to the time of Pliny. Among the Greeks, the pottery of Athens and of the island of Samos was the = most famed, the finest, and of the most carefully-washed earth; it was called = Samian clay, and produced the hardest = ware. The ornamental stamps used for the pottery were also of baked clay. One containing a pattern for a border is engraved above - the figure of the impression it gives being engraved beneath it. It was a commonly used ornament when placed side by side as a border surrounding patera and bowls of the ordinary red ware, so universally used by the Romans, and known as "Samian pottery." The eart= h used for making fictilia was usually red; often of the greatest brill= iancy when the oxide of iron was present in large quantity. Other clays contain= ing a smaller proportion of iron yielded pottery of an o= chreous brown colour. Some specimens have been found entirely black, supposed to b= e due to the mixture of asphaltum with the clay. Th= e clay used for making the modern black tea-pots, &c., owes its colour to the presence of the protoxide of iron and manganese. Lastly, the white ware was yielded by pure clay, similar to the Cornish clay used in the manufacture of porcelain. * F= IGURE

*<= /span> See Art-Journal, October, 1860 (1855= f1)

$H Fictor.

FICTOR. (Lat.) A term applied to any arti= st who worked in wax, clay, or other plastic material, as contradistinguished fr= om one who worked in bronze, marble, wood, ivory, or other solid substances. (1855f1)

$H Fiddle (A.S. fithele), or Viol. Anglo-Saxon

Fiddle (A.S. fithele= ), or Viol, is represented in an Anglo‑Saxon MS. of the 11th century, of a pear‑shape, with four strings. The fiddle‑bow probably origin= ated in Hindustan, where the Hindus claim that the ravanastron was invented about= 5000 years ago by Ravanon, a king of Ceylon. Almost identical with this is the Chinese fiddle called urheen, which has only two strings, and its body consists of a small block of woo= d, hollowed out and covered with a snake‑skin. A German fiddle of the = 9th century, called lyra, has only one string. In the Nibelungen Lied V= olker is described as dexterous in playing the fiddle. Interesting representati= ons of performers on the fiddle are painted on the roof of Peterborough Cathedral. They are attributed to the 12th century.(1883m1)

$H Fidelia.

R. An earthenware ve= ssel or jar used as a receptacle for cement.(1883m1)

$H Fides or Fidis.

R. A general term co= mprising all stringed or gut instruments (from sphidé, catgut).(1883m1)

$H Fidicula.

Fidicula R. (dimin. = of fides). A very fine catgut strin= g, a treble‑string. The plural = fidiculae denotes an instrument of torture for slaves, the form of which is unknown.(1883m1)

$H Field. 1. Numismatics; 2. Heraldry

Field.In Numismatics= , the surface of a coin on which objects were engraved; in Heraldry, the entire surface of a shield or banner.(1883m1)

Field. (Her.) In her= aldry the field of a shield is the groundwork or basis upon which the different charges are laid. The tinctu= re of the field must always be specified first in blazoning a shield.(1891a1= )

FIELD. The= ground or surface of an heraldic shield or a coin. Thus, if a single object of a= ny kind is placed on a shield, it is said to be "in the field." The arms of Shakespeare, page 77, would be described by a herald "on a f= ield or, a bend sable," &c. The coin, page 26, would be described by= a numismatist as having "in the field" two shields radiated. (1855f1)<= span style=3D'mso-no-proof:no'>

$H Figure.

Figure. A representa= tion of a man, woman, or animal, drawn, painted, or sculptured. A life‑size figure is a representation of a man or woman of natural size; a half̴= 9;figure represents a person as far as the waist only; a figure half life‑si= ze represents a man or woman half the ordinary height. An academy figure is a figure of which the dimensions are those of the studies generally painted= or modelled in schools of art, i.e. a little less than half‑life size. The following proportions are generally observed in the drawing of figures. They have b= een arrived at from the observation of centuries and the careful examination = of the human structure. The height of a male figure ought to be eight times = the height of the head, of a female figure seven times the height of the head= , of the figure of a child six times the height of the head.(1891a1)

FIGURE. A = term in the Arts applied to representations of the human body, and of the human b= ody only. To sketch or paint the figure - a figure in bronze or marble - is a= lways understood to signify a sketch, painting, or statue after the human model. Figure-painting has always been regarded as the highest range of which Ar= t is capable, as it tests the noblest mental faculties of the artist; it is not meant to be understood by this, mere portraiture, but historic or ideal delineation, in which the actions and passions of human nature are to be = placed before the spectator. For acquiring an anatomical knowledge of the human form, it is customary to draw from the nude, or naked figure; the draperi= es are frequently arranged by means of what is termed a "lay-figure,&qu= ot; which will be treated of in its proper place. (1855f1)

--- $H Fi= gure, Colossal. =

A painted or sculptu= red figure, the proportions of which are far beyond life‑size. A monume= ntal figure may be from eight to eighteen feet high or more according to the s= pace which it is to occupy in a building or the size of the square in which it= is to stand. The largest figure of this kind in the world is Bartholdi's sta= tue of Liberty, which measures upwards of 150 feet from the base to the summit of the torch.(1891a1)

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

FIGURED. A= term applied to designate the surface of any manufactured article which is cov= ered by ornament, or the monotony of which is broken by decorative lines, as in silks, &c. (1855f1)=

$H Figure‑paintings.

Paintings of the hum= an figure.(1883m1)

$H Figurine.

A small figure or st= atuette, generally in terra‑cotta or some material low durable than marble. Greek figurines, though exquisitely graceful and artistic, often lack the restraint observable in classical statues of larger dimensions. This in reality adds to their interest, for it shows us of what Greek art was cap= able when not devoted to civic or religious purposes. The finest figurines kno= wn to us are those found at Tan= agra. [Tanagra figures.](1891a1)

$H Filagree, Filigree, = or Filigraine.

Filigree. Goldsmith'= s work consisting of threads of metal intertwined and soldered. The ornaments of= the 11th, 12th, and 13th centuries are decorated with filigree of exquisite workmanship. Filigree lent itself especially to the representation of the crockets and festoons which decorate those architectural monuments in miniature, the mediaeval reliquaries. [Reliquary.] Eastern nations have always been famed for their skill in filigree. The Italians introduced the art into Europe.(1891a1)

FILIGREE, FILIGRAINE (Fr.), FEINE DRAHTGEFLECHT (Germ.) = Ornamental work, executed in fine gold or silver wire, plaited and formed by soldering into the forms of delicate arabesques and flowers; having the minute beauty of lace in some carefully-executed specimens " The Italian word filigrana is compounded of filum and granum, or granular network; because the Italians, who first introduced this styl= e of work, placed beads upon it.'' **= The Eastern nations have for ages been remarkable for their proficiency in th= is delicate and beautiful art. (1855f1)

**= Dr. Ure's Dictionary of Arts, Manufactures, &c.(185= 5f1)

Filagree, Filigree, or Filigraine (It. filigrana =3D filum and granum,= or granular net‑work; so called because the Italians, who first introd= uced this style of work, placed beads upon it. [Ure.]). This work is of gold or silver wire plaited and solde= red into delicate arabesques and flower patterns. In the 15th century the Spa= nish Moors "made admirable chiselled, enamelled, and gilt work, and appli= ed filigree work on the surface, a system kept up at <= st1:place w:st=3D"on">Salamanca and Cordova to the present day." The Eastern nations have always been famous for filigree work.= Fig. 3= 12. Silver Filigree. Reliquary, belonging to Lord Hastings, said to have been= dug up in the foundations of St.= Paul's, London.(1883m1)

$H File.

Her. A label (from t= he Latin filum, a narrow ribbon).(1883m1)

$H Filfot. Called a= lso the Gammadion. (See FYLFOT.) (1883m1)

$H Filigraine. See Filagree

$H Filigree. See Filagree

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

$H Fillet. 1. Heraldry; 2. General; 3. Architecture; 4. Costume

Fillet, Her. A diminutive of a chief.(1883m1)

FILLET. A band of linen or ribbon worn rou= nd the head. * A plain band, us= ed in architecture to separate ornaments and mouldings.

* = See cut to DIADEM. (1855f1)

Fillets, Gen. Strips= of linen employed for various purposes. The victims which were conducted by priests to sacrifice were adorned with sacred fillets. Among the Egyptian= s fillets were employed to swathe mummies, the strips being repeatedly wound by the embalmers round the corpse, till it reassumed the appearance it had prese= nted before being dried. (See DIADEM, FASCIA.) In Architecture, a small round = or rectangular moulding which separates two othe= rs which are larger and more prominent; the fillet also separates the flutin= gs of columns. (See TAENIA.) (1883m1)

Fillet. (1) (Arch.) = A square moulding which is also termed a list or listel. Fillets serve to separate convex or concave= mouldings, and their number and proportions vary in= the care of classical buildings according to the order to which they belong, = in the case of Gothic buildings according to their style or period. <= span style=3D'font-family:Arial;mso-bidi-font-family:"Times New Roman";mso-no-= proof: no'>ILLUS. fillet1(1891a1)

(2) (Her.) The fillet is the dimi= nutive of the chief, and is generally represented as one‑fourth the size of this ordinary.(1891a1) <= /o:p>

(3) (Cost.) A band worn upon the head by the Greeks, both men and women, and = tied at the back with a bow. It was not, as was the case of the diadem, a sign= of distinction or dignity, but simply a personal adornment. ILLUS. fillet3(1891a1)

$H Filomena, St.=

A purely legendary s= aint, whose worship has become popular in the present century in Italy. In 1802 a skeleton of a girl was discovered, the sep= ulchre bearing a fragmentary inscription, which was elaborated by a zealous prie= st into a memorial inscription in honour of an imaginary saint called Filomena. She was said= to have suffered martyrdom in the reign of Diocletian or Maximian; and though there is absolutely no reason to believe that such a person ev= er existed, she was at once honoured as a saint.= There are, as is naturally to be expected, few artistic representations of St. = Filomena, but images of her are to be seen in vario= us Italian churches.(1891a1)

$H Fimbria.

Fimbria. [See Fringe.](1891a1)

Fimbria. R. The border or fringe of a cloth or garment. [These were more common among the Egyptians and Assyrians than the Greeks= and Romans, and are mentioned in the Bible.](1883m1)

FIMBRIA (Lat.), FRINGE. By the Greeks and Romans, FRINGES or tassels were ornaments but little worn, except on the garments of females, by whom they were sometim= es attached to the TUNIC. The extremities of the threads of the warp (thrums) formed the usual FRINGES= , to which an ornamental appearance was given by twisting and crossing the threads, and the production of a net-like form. Fringes were also made of= gold thread, and other materials, which were attached to the garments, &c.= Our engraving is copied from Wilkinson's Manners and Customs of the Ancient Egyptians, and exhibits a shirt of that antique period, with a richly-fringed border. The ancient Assyrian sculpt= ures exhibit such fringed garments in profusion; and they are frequently menti= oned in Holy Writ. FIGURE(1855f1)

$H Fimbriated. Heraldry

Fimbriated. (Her.) W= hen a charge, as for example a cross, is surrounded by a narrow border of a different tincture to itself, it is said to be fimbriated.(1891a1)<= /o:p>

FIMBRIATED= . A term in heraldry, used to denote an ORDINARY or other charge, which has a narr= ow edging of another colour entirely surrounding it. (1855f1)

Fimbriated. Her. Bordered; the border (which is narr= ow) lying in the same plane with the object bordered. (Fig. 313.) Fig. 3= 13. Cross fimbriated.(1883m1)

$H Fine‑grinding.

An operation by whic= h the materials used in certain arts, such as potter's clay and painter's colours, are reduced to a fine powder.(1891a1)=

$H Finial. Architecture

FINIAL. An= ornament employed in Gothic architecture, as a termination to pinnacles, pediments= , or canopies; it consists of a bunch of foliage, and therein closely resembles the CROCKET; sometimes FINIALS are composed of four or more CROCKETS, uni= ted together. Church spires, when perfect, are frequently terminated with FIN= IALS. FIGURE= (1855f1)

Finial. In Gothic architecture, an ornament of carve= d work representing foliage, on the apex of a spire or pinnacle. (See CROCKET.) (Fig. 314.) Fig. 314. Finial.(1883m1)

Finial. (Arch.) In a= ll styles of architecture a finial <= /i>denotes a sculptured ornament, which represents a leaf or a flower, and which is employed (especially in Gothic buildings) as a termination to gables, pinnacles, and canopies. Finials first made their appearance in the 12th century. At the beginning of the 13th century their section is square, and they consist of four bunches of leaves with a bud above. In the middle of= the 13th century they are composed of two rows of leaves, and at the end of t= he century they are still more elaborate. In the 14th century they are extraordinarily bold in design, but in the 15th they begin to lose their character. They are stripped of their leaves, and finally in the 16th cen= tury they are replaced by a stem which springs from between the crockets on the slope of a roof. 3 ILLUS. finial1, finial2, finial3(1891a1)

&nbs= p; &nbs= p;

$H Finish. Painting

Finish. (Paint.) The= term finish is applied to the final touches in the execution of a pictur= e. In a highly finished picture no detail is carelessly carried out. As a fi= ne example of finish Gerard Dow's "Water Doctor" may be quoted. In pictures of small size finish is necessary to success. In large pictures, on the other hand, fini= sh, if carried too far, produces only an impression of dryness.(1891a1)

FINISH. Th= e last touches applied to a picture or other work of Art. It always constitutes = the difference between excellence and mediocrity. Small pictures require the = most careful finish, but in larger ones too much attention to high finish detr= acts from the boldness and vigour demanded by works on a large scale. (1855f1)=

$H Fipeke.

The name of an Etruscan lion-headed monste= r, with water flowing from his mouth, and an upturned urn beneath him, who w= as combated by Herakles. Gerhard believed him to represent the Hydra; Corssen, more probably, a water-imp. (1876c1)

$H Firamodor.

The goddess of the earth, or the general powers of nature, among the Anglo-Saxons. Her analogue was the Demeter of= the Greeks. (1876c1)

$H Fir‑cone.

Fir‑cone upon = a stem was the form of vases special to the majolica manufactory of Deruba; "a form," says Jacquemart, "quite special to that manufactory, and directly imitated from the extreme East and from Asia Minor."= ;(1883m1)

$H Fire.

Fire. (Her.) A natur= al figure in heraldry. It is represented on coats of arms by a flame, a torch , a brand, or burning coals. In early Christia= n art fire is the attribute of many saints and martyrs who suffered death = at the stake.(1891a1)

Fire. Flames of fire= placed near St. Anthony signify his spiritual aid as patron saint against fire in all shapes, in the next world and in this. Tongues of fire are, of course, depicted on the heads of the Apostles, in representations of the Day of Pentecost.(1883m1)<= /span>

FIRE, FLAM= E. The attribute of St. Florian, the protector against conflagration; of the her= mit Anthony, because the tempter appeared to him from the fire; of Bishop Bas= il, who saved a poor boy, by burning his compact with the devil; of St. Bridg= et of Scotland, over whose head a flame was seen from childhood; of St. Colu= mba of Cordova, who saved an angel from death by fire; of St. Patrick, before whom fire sprang out of the earth, upon his drawing a cross upon it with = his staff; of the Dominican, Peter Gonzales, called St. Elmo, who, enveloped in a mantle, lay upon burning coals, whence the expression St. Elmo's fire; and of many Christian martyrs condemned to d= ie by fire. (1855f1)

$H Firebrick. Construction

(Constr.) An inflamm= able brick which contains neither iron, or oxide of= iron. Firebricks are used in the construction of furnaces in which porcelain, faïence, and enamels are baked.(1891a1)

$H Firedog or Fire‑dog. (See ANDIRON.)<= /span>(1883m1)

FIRE-DOG. = A metal support for logs, when burning in a fireplace. See ANDIRON. (1855f1)

Firedog or Fi= re‑dog. An andiron (q.v.) of large dimensions. Firedog= s were often magnificent specimens of ironwork. Those placed in halls and dwelli= ng rooms were richly decorated, while those placed in kitchens were stronger= and plainer in design, and generally terminated in a kind of tray, upon which dishes were placed. In collections there are still to be seen many exquis= ite firedogs of wrought iron decorated with coats of arms. ILLUS. firedog(1891a1)

$H Firelock or Fire‑lock.

Firelock. = A kind of firearm discharged by means of flint and steel. It was invented in the early part of the 17th century.(1891a1)

Fire‑lock. The= musket fired by flint and steel, invented in France about the year 1630.= (See MATCH‑LOCK.)(1883m1)

FIRE-LOCK.= The musket fired by flint and steel, in contradistinction to the earlier matchlock. According to Meyrick,= it was first invented in = France, about the year 1630. (1855f1)=

$H Fireplace.

In early times, in t= he 12th century for instance, fireplaces were deeply recessed and surmounted by a chimney‑hood (q.v.) In the Early English period the fireplace was v= ery plain and but little recessed. It was not until the 15th century that much decoration was lavished on fireplaces. At that time the hearth was set far back, and it was no longer necessary to use a hood.(1891a1)

$H Fire‑stommer.<= /span> Old English

O.E. A poker.(1883m1= )

$H Firing.

The operation of fix= ing the colour in glass or enamel, by submitting the painted objects to the action of fire.(1891a1)

$H Firkin= .

A Grecian measure of capacity, equal to ei= ght gallons. (1876c1)

$H First Proof. Engraving

(Engrav.) A proof printed from a plate before the inscription and author's name has been cut on it.(1891a1)

$H First State. Engraving

(Engrav.) An engraving is said to be a first state when it is struck from a plate w= hich has only been bitten once and has not received its final touches. The ter= m is also applied to a print, either finished or not, which differs from the p= roof of the second printing.(1891a1)

$H Fiscus.

R. A wicker‑wo= rk basket used for gardening purposes, especially for gathering in the olive= and grape crops. The Romans also made use of this basket for transporting sum= s of money; hence fiscus came to mean a money‑chest, and was the name given to that part of = the revenue which was applied to the civil list of the emperors [opposed to <= span class=3DSpellE>aerarium, the property of the senate]; but at last the word was used to signify generally the property of the state.(1883m1)

$H Fish. Christian

Fish. In Christian a= rt, the symbol of water and the rite of baptism. (See ACROSTIC and VESICA PISCIS.)(1883m1)

Fish. A curious symb= ol frequently found on early Christian monuments and tiles. It is the emblem= of our Lord, and the usual explanation of it is, that it is taken from 3O1KG, the = Greek for fish, the letters of which are the initials of the words = z= 3= 0= F= @= Ø= H O= D= 4= F= J= Î= H 1= ,= @= Ø K= 4= Î= H E= T= J= Z= D[=3DIesous Christos= Theou Uios Soter], i.e. Jesus Christ, the Son of= God, the Saviour. Another explanation is that it contains a reference to the text, "I will make you fishers of men,&q= uot; but the one first stated is the more probable.(1891a1)<= /p>

Fish. A fish has been employed as a symbol of our Lord from the earliest times; it is found depicted on the tombs in the Roman catacombs. St. Peter was metaphorica= lly called a "fisher of men;" the faithful were sometimes represent= ed by fish, with reference to the waters of baptism in which they were born,= and fish were therefore frequently carved upon the baptismal fonts. It has al= so been explained that the Greek word for a fish, ΙΧΦΥΣ, contains in consecutive order the initial= s of the words Ιησος χριστος θεον Υ= ;ους Σωτης - Jesus Christ= , Son of God, Saviour. Fish are used as emblems of chastity; they are attributes of the Apostle Simon, and St. Peter is sometimes represented with two in his hand. The VESICA PISCIS is a symbol= ical figure, consisting of two intersecting segments of circles, employed also= as an emblem of the Saviour, from the fourth cen= tury. The seals of abbeys, colleges, and other religious establishments were all invariably made of this form. *<= /b>

* = It takes precisely the form of the aureola enclosing the figure of the Saviour, p = 58. (1855f1)

--- Fish. in = Egypt

The fish are among the best drawn animals on tomb and temple walls. Hence it = is that ichthyologists have been able to identify the fish represented on,the walls of Dêr el Bahri with= modern Red Sea fish. Of the many specimens that were fou= nd in the Nile several were considered good for food, among which Gardiner Wilkinson gives Labrus Niloticus, perca nilotica, cyprinus benni, silurus= shall, silurus schilbe nilotic= us, silurus<= /span> bajad, silurus= carmuth= . Some were considered sacred in different parts of the country. Such were = the oxyrhinchus, the latus,= the phagrus, and the lepidotus. The two former gave their names to places. That fishing was a great industry,= as well as one of the chief sports and amusements, may be gathered from the pictures on tomb walls. Nets of various kinds, hooks, and spears were used for catching fish. It is evident that they were preserved and fed for the table in private ponds, and here the Egyptian gentleman amused himself by fishing with a line, or going out in a small = boat to spear the fish with a bident. The ordinary fisherman, who fished for his livelihood, used a net; a drag net is often worked by two boats. The fish thus caught were eaten both fresh and salte= d. The latter were split and opened out, exposing the backbone, salted, and = hung out in the sun. Herodotus speaks of "the revenue arising from Lake <= span class=3DSpellE>Moeris, which was derived from the fish," and alluding to the subsiding of the waters of the inundation from Lake Moeris he says, "During the six months that it= flows out it yields a talent of silver every day to the king's treasury from the fish, but when the water is flowing into it, twenty = minae." In later times fish was considered an impure food, and was not eaten by t= he priests.(1902b1)

$H Fish‑tail. Engraving

(Engrav.) A term applied to a broad flat brush, which is used to lay the ground upon plates, which are to be bitten by acid.(1891a1)

$H Fistuca.

R. A pavior's ram or beetle; a wooden bar or pile used to consolidate floorings, masonr= y, and pavements.(1883m1)

$H Fistula.

R. (1) A water‑= ;pipe of lead or earthenware.

(2) A writing‑= pen made of reed, and thence a Pan's pipe. <= /span>

(3) A rolling‑= pin for making pastry.

(4) A probe.

(5) A machine for br= uising corn, which was called fistula farraria.(1883m1)

$H Fitch.

The best of paint= 209;brushes are made of the hair of the fitch or polecat. They are black, elastic, and firm th= ough soft. They are made flat or round, and are used also for varnishing.(1883= m1)

FITCH. Amo= ng the brushes used in painting, some are made of the hair of the sable, a kind = of weasel; others of the badger, and of white hog's bristles; but among the = best are those of the fitch, or polecat, which are black in colour, elastic and firm, though soft. They are made both flat and round, and are used also f= or varnishing. (1855f1)

$H Fitché or Fitché/e. Heraldry

Fitchée, Her.= Pointed at the base.(1883m1)

Fitché. (Her.= ) An heraldic term which means tapering or pointed. For instance, a cross fitché (q.v.) is a c= ross the lower limb of which tapers downwards to a point.(1891a1)

FITCH&Eacu= te;. (Fr.) An heraldic term for pointed, like a dagger. The arms= of the see of Canterbury represent four crosses paté= ;e fiché upon the archiepiscopal pall, which is the principal cha= rge. See cut to PALL. (1855f1)

$H Fitzwilliam Museum.

Museum. This institution= is to Cambridge what the Bodleian Picture Gall= ery and the Arundel Marbles are to Oxford. It is made from recent bequests - the late Lord Viscount Fitzwilliam havi= ng, in the year 1816, left to the University of Cambridge, in = trust, the sum of a hundred thousand pounds (South Sea Three per Cent. Stock), t= he interest from which was to be devoted to the erection of a suitable struc= ture for containing and exhibiting his own collection of works in Fine Art and literature; and which consisted of a gallery of paintings; a collection of drawings and engravings, many of exceeding rarity and value, occupying fi= ve hundred and twenty folio volumes; a library of seven thousand books, incl= uding some choice illuminated missals; and a large collection of music.

The collection of pictures is of the ordinary average of those usually seen in a gentleman's house; there are several good pictures, few fine ones. The usual abundanc= e of the Dutch masters preponderates. Some few which bear great names deserve = the honour as little as the pictures which are so ordin= arily christened by an auctioneer. The French and Italian schools are fairly represented, and there are some creditable English pictures. It is altoge= ther a good collection to study as a rudimentary one.

The munificence = of the original founder has induced the smaller gifts of many private individual= s, which may form the nucleus of a good museum. They are of a very miscellan= eous character, comprising all that is usually classed under the somewhat hete= rogeneous head of "curiosities;" yet some few of the antiques are worthy = of notice. But the most important bequest was that made about three years ag= o by John Disney, Esq., F.S.A., who transferred to this building the whole of = the antiques which he possessed, and which are now arranged in the lower room= s of the building. The greater part of this collection was formed jointly by M= r. Thomas Hollis and his friend, Mr. Thomas Brand (who eventually took the n= ame of Hollis, in addition to his own) - principally, indeed, by the former, during their several visits to Italy, from the years 1748 = to 1753. They were sent to the Hyde, near Ingatestone, Essex, and a hall was erected there for their reception and arrangement by Sir William Chambers, where they remained until they were bequeathed to t= he Fitzwilliam Museum.

Among the marble= s, the most important is the "Silenus seated on= a Rock piping," the "Juno Dedens,&quo= t; and the "Apollo and Piping Faun;" but the collection is chiefly remarkable for antique busts, some of which are very good. There is a fin= e sarcophagus of Greek work, with the story of Ulysses among the daughters of Lycomedes; and a very good Roman sarcophagus, with = bacchanalian figures. There are also some elegant funeral cippi, vases, and inscriptions.

Among the bronze= s are an Egyptian "Autinous," "Jupit= er Serapis," a "Young Bacchus," and a "Wrestler." The smaller articles - as lamps= , &c. - are very beautiful, and were chiefly obtained from Herculaneum and Pompeii. There are also some glass vessels, Roman and early English pottery, and miscellaneous antiques. The early fictile vases, which form a very import= ant part of the collection, are generally good, and exhibit a great variety of form and style - from the archaic period of Art, as seen in the heroic ag= es, until its culmination in ancient Greece. *

* The entire collection has been engraved = and described in three quarto volumes, consisting of three parts, published in 1846, and entitled Museum Disneyanum. (1855f1= )