$H Flabelliferi.

The bearers of the great fan or flabellum = of feathers, two or which were borne before the Egyptian monarch upon state occasions. (1876c1)

&n= bsp;

$H Flabelliform. Architecture

Arch. (flabellum). Fan‑shaped. The term is usually applied t= o an ornament composed of leaves and palms, which is of frequent occurrence on Romano‑Byzantine monuments.(1883m1)

$H Flabellum.

Flabe= llum, Gen. (flo, to blow). A fan. (See FAN.)(1883m1)

FLABELLUM.= (Lat.) A fan. See that word. (185= 5f1)

Flabe= llum. A large circular fan formed of peacock's feathe= rs. It was used as a brush in Asia, in Roman houses, and in the churches of the East. It was employed in the Latin Chu= rch until the 14th century, and it is still retained in certain ceremonies in which the Pope takes part. [Fan.] ILLUS. flabellu(189= 1a1)

$H Flag.

A stone used in the = making of pavements.(1891a1)

$H Flagellation.

A term applied to pi= ctures or bas‑reliefs representing the scourging of Christ.(1891a1)

$H Flagellum.

Flage= llum. Gen. (flagrum). A whip or scourge made with thongs of leather, especially thongs of the ox's hide, = or twisted or knotted cords, &c., used in antiquity for punishing slaves= or culprits. It was a terrible weapon, and the lash was often knotted with bones, or heavy metal hooks t= o tear the flesh (s= corpio). Gladiators used to fight in the arena with flagella.(1883m1)

FLAGELLUM.= (Lat.) A whip or scourge, sometim= es of the most cruel construction, for the punishment of offenders, or slaves, having the thongs knotted, or strung with small bones, which produced gre= at suffering, and even death. The thongs were occasionally made of twisted wire with me= tal knobs at their extremities, and were sometimes used by gladiators in thei= r contests. (1855f1)

$H Flagon.

Flagon. A vessel wit= h a long neck covered at top, and a spout. The flagons of the 15th and 16th centur= ies are the best in design and ornamentation.(1883m1)

Flagon. A long‑= ;necked vessel with a spout and a lid, used for holding liquids. At the time of t= he Reformation the flagon was ordered to be used instead of the cruet in the services of the Church. It has now been replaced by a vessel of a differe= nt shape.(1891a1)

FLAGON. A = vessel for holding liquor, generally with a long neck, covered at top, und a spo= ut. Like many other adjuncts to the table, the flagons of the fifteenth and sixteenth centuries display great taste in design. (1855f1)

$H Flail.

Flail. A weapon like= a flail, of wood and iron armed with spikes, temp. Henry VIII.(1883m1)

Flail. A weapon made= on the model of the agricultural implement of the same name. It was made of wood, and its arm was sheathed in iron and often rendered more dangerous with spikes.(1891a1)

FLAIL. A r= ustic instrument for beating out grain. A military weapon was constructed on the same principle in the sixteenth century - the pole and flail being made of wood, strengthened with a sheathing of iron; the flail having rows of spi= kes surrounding it, which inflicted dreadful blows on armed men, and broke armour. (1855f1)=

$H Flake White or Flake‑white. Painting

Flake‑white. S= o called from its form, in commerce, of fl= akes or scales. As a pigment it possesses great body, and enters largely into numerous compound tints. (Fairholt.) (See CARBONATE OF LEAD.)(1883m1)=

Flake White. (Paint.= ) A pigment composed of oxidised carbonate of lea= d. It owes its name to the fact that it is sold in flakes or plates. It has a g= ood body, and under certain conditions is permanent. Oil and varnish dissolve= it, and it is apt to turn grey in an impure atmosphere, while it, in its turn= , is destructive to lakes and orange leads when mixed with these pigments.(189= 1a1)

FLAKE WHIT= E. A white pigment extensively used in oil-painting. Like nearly all the other white pigments, it is prepared from the carbonate of the oxide of lead, obtained by exposing sheets of lead to the vapour of ascetic and carbonic acids. It derives its name from the form in which it appears in commerce = - that of flakes or scales. As a pigment, it possesses great body, and enters largely into numerous compound tints. (1855f1)

$H Flamboyant. Architecture

Flamboyant (style), = Mod. The style of French architecture peculiar to the 15th century, so call= ed because the mullions and tracery of the windows in the monuments belongin= g to that period are curved and twisted like the waving of flames. This style = was contemporary with that called "the perpendicular" in England.(1883m1)

Flamboyant. (Arch.) = A name given to the French Gothic architecture of the 15th and 16th centuries, w= hich corresponded in point of time with the Perpendicular (q.v.) style in Engl= and. The flamboyant style is characterised by balustrades and traceries, resembling flames in their contours. ILLUS. flamboya(1891a1)

FLAMBOYANT. (Fr.) A term applied to those contours of which the inflexions have a resemblance to those of flame; and by antiquaries of France to that style of architecture whi= ch was contemporary in that country with the perpendicular in England, and which was characterised by the flame-like wavings of its tracery. It is regarded by some as "a vitiated decorated, rat= her than a distinct style." **<= /b> In rich works, the intricacy and redundancy of the ornaments are frequently truly surprising. This style is also termed, by continental antiquaries a= nd architects, the Ogival style, a name applied = with propriety to a mode of enrichment characterised by the same flow of line which gives its peculiarity to the ogee moulding, and induces its name. Either term is consequently used by such writers to designate its leading trait.

**= Glossary of Architecture. Oxford: J. H. Pa= rker. (1855f1)

$H Flame. [Editor - See Fire]

$H Flamen. Roman

Flamen. R. A priest = devoted to the service of any one god; e.g. Flamen Martialis, the priest of Mars. Their characteri= stic dress was the APEX, the LAENA, and a laurel wreath.(1883m1)

FLAMEN. (Lat.) A priest devoted to the se= rvice of one particular god, and who received a distinguishing epithet from the deity to whom he ministered - as = Flamen Martialis, Priest of Mars, &c. They enjoyed peculiar honours, and held their office for life. There were originally but three, but the numb= er was afterwards increased to fifteen, the original three being always chosen f= rom patrician, the others from plebeian families. They had a dress of characteristic kind, consisting of an apex, laena, and laurel-wreath.(1855f1)=

$H Flaming Heart.

Flaming Heart, in Ch= ristian symbolism, expresses fervent piety and love.(1883m1)

$H Flammeolum.

Flammeolum (dimin. o= f flammeum). A term denoting a texture much finer than that of the = flammeum.(1883m1)

$H Flammeum. Costume

R. A bridal veil wor= n by the bride on the day of her marriage; it was of light gauze, and in colour of a vivid and brilliant yellow, like a flam= e; whence its name. It covered the lady from head to foot, and was removed by the bridegroom on their arrival home after the ceremony.(1883m1)

FLAMMEUM. (Lat.) The yellow veil worn on the wedding-day by Roman brides. It was sufficien= tly large to cover the wearer from head to foot. It was removed by the husband upon their arrival at their home. * FIGURE

* = Our cut exhibits its form and mode of wearing, as given in a sculpture of a Roman marriage, engraved in Bartoli's A= dmirandi Romanorum Antiqua.(1855f1)

(Cost.) A long thick= veil of a brilliant yellow or flame <= span class=3DSpellE>colour, which was worn by Roman women on their wedd= ing day. During the ceremony it covered the head of the bride, who was unveil= ed by her husband on reaching home. ILLUS. flammeum(189= 1a1)

$H Flammula.

Flammula. R. A small= flame; a small banner borne by light cavalry regiments; it was of a vivid and brilliant yellow colour, like the bridal flammeum; whence its name. (Modern ORIFLAMME, q.v.)(1883m1)

FLAMMULA. = (Lat.) A banner used by Roman cav= alry, of a bright yellow colour, and ending in a triple tongue; so named from its resemblance to a flame of fire. The more modern oriflamme was derived from it, and resembled it closely. (See that word.) (1855f1)

$H Flanches, Flasques. Heraldry

Flanc= hes, Flasques, Her. Subordinaries.(1883m1)

Flanches. (Her.) A flanch consists of a segment of a circle cut out as it were from the side or flank of the field. Flanches are always borne in pairs and are reckoned as a subordinary (q.v.). They = are rather rare in English heraldry, but a good example is to be found in the arms of Sir Bartle Frere: Gules, between two flanches or, two leopards' faces in pale or.(1891= a1)

$H Flanks. Architecture

(Arch.) The flanks o= f an arch are those portions of an arch between the spring‑line and the vertex.(1891a1)

$H Flask.

Flask. A vessel to c= ontain liquids, used in I= taly and elsewhere. It is a kind of flagon, long and narrow, and generally of a graceful form. Flasks were carried by pilgrims, and so we often find a fl= ask suspended to a pilgrim's staff in works of art.(1891a1)=

FLASK. A v= essel for carrying liquids, sometimes in the form of a bottle or gourd; and in works of Art frequently seen suspended to the staff of the pilgrim. The military flask superseded the use of the powder-horn in Germany; during the sixteen= th century, and was frequently constructed of rich materials, and decorated = with elaborate ornamental designs.(1855f1)

$H Flasques. Heraldry

(Her.) A diminutive = of flanches, a smaller piece being cut out of the fiel= d of the shield.(1891a1)

$H Flat‑heads or Projecting‑heads.

Flat‑heads, Projecting‑heads. Mod. An or= nament peculiar to the Romano‑Byzantine period, which decorates archivolts. Fig. 315 gives an example of flat‑heads; Fig. 316 of projectingR= 09;heads.

Fig. 315. Flat‑heads. Fig. 316. Projecting‑heads.(1883m1)

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$H Flaying‑knife.

An attribute of St. = Bartholomew, signifying the manner of his martyrdom. In Croyland<= /span> Abbey it was anciently the custom to present all members of the community with small flaying‑knives on St. Bartholomew's Day (Aug. 24).(1883m= 1)

FLAYING-KNIFE. This implement is the pecul= iar attribute of St. Bartholomew, who is sometimes represented with that in o= ne hand, and his skin in the other. **

**= In Croyland Abbey, it was anciently customary to present to all members of t= he community small flaying-knives on that saint's day (Aug. 24), as a mement= o of his death (1855f1)

$H Flemish Bond. Architect= ure

(Arch.) That method = of laying bricks in a wall so that in each course headers (q.v.) and stretch= ers (q.v.) appear alternately.(1891a1)

$H Flemish Lace.

Flanders and Italy dispute the invention= of pillow lace. It is certain, however, that lace of home manufacture was wo= rn in the 15th century in the Low Countries, and from that time to the prese= nt lace‑making has formed a source of national wealth to Belgium. The engraving shows a fine specimen of old Flemish lace composed of six diffe= rent designs joined together, commonly known as "Trolle Kant." A sim= ilar lace is made in some of our own counties, and called "Trolly." (Fig. 317.) Fig. 317. Old Flemish Lace.(1883m1)

$H Flemish White. [See White Lead= .]

$H Flesh, Flesh‑tints, Chairs [or Carnation]. Painting

FLESH, FLESH-TINTS, CHAIRS. (Fr.) The colours which best represent the human body; sometimes termed the carnations, but employed in a mo= re extended sense than this latter term, which better expresses the more delicate portions of the body, such as the face, bosom, and hands. (1855f= 1)

Flesh‑tints (P= aint.) A term applied to those tints or colours observ= ed in the nude human body. The representation of the nude is one of the most important branches of painting, and therefore too much stress can scarcel= y be laid upon the study of flesh‑tints. The best c= olours with which to represent flesh are pink madder, brown madder (for the dark= est touches), Indian red (as a shadow colour), Ve= netian red and vermilion for the carnations of flesh. In painting flesh the colours should be laid on thickly, as a good effect cannot be obtained by thin layers of colour o= ver a large surface. The term "flesh‑tints" in a general sense = denotes the power displayed by a particular artist in the rendering of the nude; = thus we speak of the flesh‑tints of Rubens, of Titian, &c.(1891a1)

Carnation (Fr.), C= arnagione (Ital.) The flesh-tints in pa= inting are termed CARNATIONS. The study of the naked human form is of course necessary to the proper delineation of figure, which ought, if possible, = to be free from clothing, so that the flesh and natural structure may be visible; the beauty of a picture is reduced to a minimum, if the artist, = from prudery, evade the free development of nature. Carnations are of the grea= test importance in mythical representations, heathen or Christian, for in these subjects the painter has free and ample scope for artistic colouring. The student of flesh painting must carefully consider his choice of pigments, since they are not all equally serviceable, either in picturesque effect = or in chemical action; those which do not blend must be replaced by others w= hich can be mixed without detriment to each other. The local colours should be given with the ochres in preference to vermil= ion; the shadows with ultramarine ashes; Veronese green mixed with asphaltum is good. In painting flesh, the pigments = should be laid on thick and pasty, as the colouring of any large surface requires this treatment in order to produce a good effect. If two large pictures be painted, one with thick and the other with thin colours, the former will = have a much more picturesque effect and greater rounding than the other, even = if the latter be more carefully executed. *

* The Art of Painting restored to its simplest and surest Principles, by L. Hundertpfund. London, 1849. (1855f1)

$H Fleur‑de‑lis.

A flower which is fo= und in many coats of arms as the symbol of nobility or sovereignty. It is preemi= nently the royal insignia of France. It assumes different forms at different epochs. The two most strongly mar= ked types are those of the reigns of St. Louis and Louis XIV. The former was slender and graceful in design; the latter squat and heavy. In early times the banner= of France was covered with fleur‑de‑lis, as in our cut, but from the time of Charles VI. it showed only three fleur‑d= e‑lis on a blue ground. For many centuries the fleur‑de‑lis were quartered on the royal arms of England in assertion of the claim of the English royal family to the throne of France. They were expunged from the shield by George IV. 2 ILLUS. fleurde1, fleurde2(1891a1)

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

(Fr.), the royal ins= ignia of France, was first adopted by Louis VII. (about A.D. 11= 37) semée, or scattered over the field. This shield is blazoned as "France Ancient." On the occasion of his marriage, in 1234, St. Louis instituted the order of the "Cosse de Genest" (Fig. 318), and, as an emblem of his humility, took for his badge the bro= om‑flower with the motto Exaltat humiles= . The collar of the order was composed of broom‑flowers enamelled, intermixed with fleurs‑de‑li= s. In the reign of Charles VI. four collars of the o= rder of the Cosse de Genest were sent as presents to King Richard II. and = his uncles the Dukes of Lancaster, Gloucester, and York. The fleur‑de‑lis entered the English insignia in 12= 75 with the marriage of Edmund with Blanche of Artois, and was erased on Jan= uary 1, 1801.(1883m1)

FLEUR-DE-L= IS. (Fr.) The royal insignia of France. Its origin is disputed; by some it is supposed to represent a lily, by others, the iron head of some weapon. In the old time, the French royal banner was sémé= of lys - that is, completely covere= d with them, as represented in our engraving - but from the time of Charles VI. = it has invariably consisted of three golden fleur-de-lis on a blue field. It is of frequent occurrence in English armoury. From th= e claims invariably put forth by English sovereigns to certain principalities in <= st1:place w:st=3D"on">France, gained by inheritance or marriage, the French royal coat appeared as a quartering in the English royal arms; and although all such claims had lo= ng ceased to be enforced or justified, it remained until the accession of Ge= orge IV., who first abolished it. (1855f1) 2 FIGURES

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

$H = Fleur‑de‑lis flory.

A fleur‑deR= 09;lis adorned with buds between the flowers or enriched with foliage and scroll= s, so as to be transformed into an elaborate floral decoration. Fleur‑= de‑lis flory are frequent= ly found as a system of ornament on hangings. They are also worked into the design= of mosaic pavements. ILLUS. fleurde3, fleurde4(1891a1)

&nbs= p; &= nbsp;

$H Fleurettée. Heraldry

Her. Terminating in, or bordered with fleurs‑d= e‑lis, like the cross in Fig. 318.

Fig. 318. "Cosse de Genest,"showing a Cross fleurettée.(1883m1)

$H Fleuron. Architect= ure

Fleuron. A small ful= l‑blown rose placed in the centre of the abacus of the capital in certain orders = of architecture.(1883m1)

FLEURON. T= he French term for the graceful honeysuckle pattern in Greek Art. (See HONEYSUCKLE PATTERN.) (1855f1)

Fleuron. (Arch.) A n= ame given to the small rose‑like flower, surrounded by leaves, which is employed as an ornament in the classical style of architecture. It is most frequently found in the centre of the abacus of Corinthian capitals. It w= as the same ornament as that generally known as the honeysuckle pattern. ILLUS. fleuron(1891a1)

$H Flexed. Heraldry

Her. Bowed, bent.(18= 83m1)

$H Flexible.

FLEXIBLE. = A word used in the Arts, to distinguish such works as look natural and easy, whe= ther in painting or sculpture, in contradistinction to such as are stiff and formal in their treatment. (1855f1)

$H Flexion.

FLEXION. T= he bending or curving of a line or figure. (1855f1)

$H Flighted. Heraldry

Her. Feathered, as a= rrows are.(1883m1)

$H Flint‑ware. Pottery

(Pot.) A kind of fine faïence, which takes its name from the flint which enters into its composition.(1891a1)

$H Flo. Old English

O.E. An arrow. "Robin bent his joly bowe, Therein he set a flo." (Wright's Songs and Carols.)(1883m1)

$H Flora. Egypt

That the Egyptians had a great love for flowers is a very evident fact, since = they figure at every function and on every occasion. But their choice was limi= ted. The trees and plants in old times were probably very much the same as tho= se we see now. The date and dôm palms, the= sycomore and the acacia were the only big trees, an= d the lotus and mimosa were apparently the only flowers that grew in abundance.= The papyrus was largely grown. Wheat, barley and dhurra<= /span> were the chief crops. Of vegetables there was no lack, though variety see= ms to have been limited to onions and cucumbers of different kinds. Melons a= nd grapes, dates, figs and pomegranates were the chief fruits used.(1902b1)<= o:p>

$H Floral.

Floral ornament is t= he system of ornament borrowed from the vegetable kingdom. The floral orname= nt of the Greeks is almost confined to the acanthus; that of the Gothic styl= e, however, is of considerable variety. At the beginning of the 13th century= the leaves generally sculptured were those of the ivy, vine, holly, marshR= 09;mallow, and eglantine. By the end of the 13th century the leaves of the oak, wild plum, fig, and pear had been added to those already mentioned. In the 14th century the leaves of the black hellebore, chrysanthemum, sage, pomegrana= te, geranium and fern were the favourites, while = in the decorative art of the 15th century we most often meet with the thistle, thorn, and mugwort.(1891a1)=

$H Floralia or Florales Ludi. Roman

Floralia, or Florales Ludi. A Roman festival in honour of Flora, said= to have been instituted B.C. 238, to invoke the protection of the goddess up= on the spring blossoms.(1883m1)

$H Flooring. Architect= ure

(Arch.) An arrangeme= nt of thin planks of wood placed upon timbers called bridging joists. Floorings receive different names according to the arrangement of the planks and th= e method of joining employed, such as plai= n jointed, rebated, fillistered, &c. These technicalities, however, scarcely belong to the domain of a= rt. Some floors are composed of marquetry, and ha= ve different coloured woods inlaid in them, which sometimes produce an admirable decorative effect. 2 ILLUS. floorin1, floorin2(18= 91a1)

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$H Floreated.

FLOREATED. Decorated with floral ornament. (1855f1)

$H Florentine Fresco.

Florentine Fresco. A peculiar method of fresco‑painting, by which the lime is kept moist= ened during the process.(1883m1)

Florentine Fresco. A= method of fresco‑painting differing from the ordinary method in that the l= ime may be kept wet and fit for painting on for a considerable time. By this means the greatest difficulty of fresco‑painting is obviated. [Fresco.](1891a1)

FLORENTINE FRESCO, FRESCO SECCO. A kind of painting first practised at Florence during = the flourishing period of Italian Art for decorating walls. Like common fresc= o, the lime is used wet, but in this mode it can be moistened and kept damp,= and fit for painting on. *<= /o:p>

* = This method has been recently employed at Munich by the decorators Strauss, Schwarzmann, and others. The new inner colonna= de of the royal palace is painted in FLORENTINE FRESCO. (1855f1)

$H Florentine Lake. (See CARMINATED LAKES.) (188= 3m1)

FLORENTINE LAKE. A pigment prepared from cochineal. = It is now obsolete, the greater durability in oil-painting of the lakes prepared from madder having entirely superseded those prepared from cochineal. (18= 55f1)

$H Florentine Mosaic.

Florentine Mosaic. I= nlaid work in coloured stones, and precious stones combined into beautiful patterns.(1883m1)

Florentine Mosaic. T= he inlaying of tables and other small surfaces with precious stones, such as lapis lazuli and chalcedony, is termed Florentine mosaic. By this process very beautiful effects may be obtained.(1891a1)

FLORENTINE MOSAIC. The term applied to the= art of inlaying tables and other plane surfaces with pietra dura and pietra commesse, carried on principally= at Florence. Very b= eautiful patterns are thus produced by the combination of precious stones, forming= the most difficult branch of mosaic Art. †

† The gloomy = burial chapel of the Medici in the Lorenzo Church is richly adorned with Florentine mosaic; on the lower part of the marble walls are= the arms of all the Tuscan cities, and the costly altar of lapis lazuli is sp= lendidly inlaid with yellow chalcedony and other beautiful precious stones, representing Christian symbols, surrounded by the most natural fruit-work= .(1855f1)

$H Florid. Architect= ure

Florid (style), Arch= . This term, now disused, has been replaced by that of FLAMBOYANT style (q.v.).(1883m1)

Florid. (Arch.) A te= rm applied to the Gothic architecture of the latest period just before the Renaissance, when the ornamentation was wonderfully exuberant, and crocke= ts developed from simple leaves into large bunches of foliage.(1891a1)<= /o:p>

$H Florimontana.=

A literary society established at Annecy in 1606. They took for their device an orange tree, with the motto, "= ;Flores, fructusque perennes."(1883m1)

$H Flourishes.

Embellishments or sc= rolls disposed round a system of ornament or adding richness to a cartouche, vignette, or initial letter.(1891a1)

$H Flower-painting.

The representation of flowers is the object of special and exclusive study on the part of certa= in artists. Flowers have always been prized in the Netherlands, and it is ther= e that the finest pictures of flowers have been produced. The flower‑paint= ings of Daniel Seghers of <= st1:City w:st=3D"on">Antwerp (1590‑1660), David de <= span class=3DSpellE>Heem, Van Huysum, and J= . B. Monnoyer are justly celebrated.(1891a1)<= /span>

FLOWER-PAI= NTING. This Art, though not unfrequently practised as a kind of ornamental adjun= ct in old times, may be said to have asserted its proper place as an Art sui generis in the seventeenth century, when painters began to devote themselves to composing pictures of flowers alone, and grouping them with an attention to form and colour. Of= all the number, Van Huysum and Jean Baptiste Monnoyer deserve especial mention for the great beauty of their works. The intense love of flowers evinced = by the inhabitants of the Low Countries l= ed naturally to great patronage of flower-painting there; and the school thus established has never been excelled. (1855f1)

$H Flowers.

Flowers. In classica= l art flowers are the attribute of Aphrodite and the Hours; in Christian art of many legendary saints, such as St. Dorothea and St. Elizabeth of Hungary.= (1891a1)

FLOWERS. Flowers are employed in Art as attributes. 1. Of mythological persons - Aphrodite, the Hours, and Zephyr= . 2. Among legendary personages - of St. Dorothea, who is represented with flo= wers and fruit by her side, or in a basket, also with a branch of roses in her hand, or crowned with those flowers; of St. Sophroni= a, upon whose corpse birds and flowers are strewed; of St. Rosa de Lima, who= was named Rosa on account of her beauty, and has a rose with a broken crown of thorns; of St. Rosa of Viterbo, who holds ros= es in her hand or in her apron; of St. Elizabeth of Hungary, who has roses in h= er lap or in a basket; of St. Casilda, who gener= ally wears a wreath of white roses on her head; of the holy pair, Ascylus and Victoria, both crowned with roses; of S= t. Angelus, from whose mouth fall roses and lilies; and of St. Hugo, who hol= ds three flowers in his hand. ** For the lily, the attribute of many saints, see LILY.

**= See Emblems of Saints, by which they are distinguished in Works of Art, by the Rev. F. C. Husenbeth. 12mo. 185= 0. "Flowers have been constantly used in the church as emblems of joy a= nd festivity; and also as symbols of love and devotion towards the saints and martyrs, whose manifold graces and virtues are shadowed in their rich var= iety of hue and colour." - Pugin<= /i>. (1855f1)

$H Flowers of Sulphur.

Flowers of sulphur are used by engravers to slightly bite in an engraved plate. Sometimes a mixture of flowers of su= lphur and oil is used. This affects the surface of the plate and produces the impression of a washed drawing, which varies in energy according to the length of the exposure of the plate to the biting in.(1891a1)<= /span>

$H Fluor‑spar or Derbyshire‑spar.

Fluor‑spar or Derbyshire‑spar. A mineral rock very common in Derbyshire, where= it is made into ornaments, &c., with the lathe.(1883m1)

FLUOR SPAR. A variously-coloured mineral rock - a combination of lime and fluoric acid, generally found in connection with tin or lead, and known in this country "Derbyshire s= par," * "blue John," &am= p;c.; it is manufactured into a variety of ornamental articles by the lathe, an= d is particularly abundant in Derbyshire, where the manufacture gives consider= able employment to workmen.

* = It has that name from its sparry form or structure.(1855f1)

$H Flush. Architecture

(Arch.) Two walls ar= e said to be flush when their facings are on the same level. One surface is said= to be flush with another when they are on the same level.(1891a1)=

$H Flute.

Gen. Said to have be= en invented by Apollo or Mercury. The simplest form of flute was made with an oatR= 09;stalk (avena) or a hollow reed (calamus); in the course of time it was made of ivory, bone, or the shin‑bones= of animals; whence its Latin name of TIBIA (q.v.)= . The Greek flute (aulos) was held like a flageolet, and a vibrating reed was inserted into the mouthpiece. The single flute was called monaulos; the double one = diaulos= . A specimen of the last in the British Museum was found in a tomb at Athens. It is made of cedar, and the = tubes, which are fifteen inches in length, have each a separate mouthpiece and s= ix finger‑holes, five of which are at the upper side, and one undernea= th. The flutes of the Etruscans w= ere often of ivory; those used in religious ceremonies were of boxwood, ass's bone, bronze, and silver. The Per= sian flute called "nay,"= and the "su= rnay," a kind of oboe, are still popular in the East. In Mexico, the young man sacrificed to the god was taught to play the flute, and as = he went to his death he broke a flute on each of the steps of the temple. The practice of making flutes of the bones of their enemies was common with m= any Indian tribes in America.(1883m1)

$H Flutings or Flutes. Architect= ure

Flutings. (Arch.) Ho= llow mouldings of uniform depth and equi‑distant, introduced in the shaft of a column or the front of a pilaster.(1891a1)

FLUTINGS. = Semicircular or square indents running down a column, or generally used as a decorative enrichment on flat surfaces.(1855f1)

Flutings or Flutes, Arch. Small semicircular indents= or grooves cut perpendicularly, by way of ornament, in the shafts of columns= and pilasters. Flutings may be either decorated or plain. When filled with a = bead‑moulding, they are said to be cabled. F= ig. 319 represents flutings decorated with leaves twined round a reed.

Fig. 319. Flutings.(1883m1)

--- $H Flutings, Cabled.

Flutings o= f which the indent is filled with a cable (q.v.).(1891a1)

--- $H Flutings, Decorated.

Flutings in which or= naments consisting of flowers and foliage are introduced. Buildings of the 12th century present many examples of decorated flutings, while on the columns= of porticos of the Renaissance style flutings are found decorated with laurel leaves and foliage of great richness. ILLUS. flutingd(189= 1a1)

--- $H Fl= utings en gaine.

Flutings the edges o= f which, instead of being parallel, converge towards a base narrower than their summit. Flutings of this character are used to decorate pedestals in orde= r to make the light play on their surface and so to give them an appearance of greater height. ILLUS. flutinge(1891a1)

--- $H Fl= utings, Ribbed.

Flutings which are s= eparated by listels (q.v.). ILLUS. flutingr(189= 1a1)

--- $H Flutings, Sharp.

Flutings the curves = of which terminate at their point of contact in an acute angle. ILLUS. flutings(1891a1)

--- $H Flutings, Twisted.

Flutings encircling a column in spirals. (1891a1)

--- $H Fl= utings with Astragals. <= /span>

Flutings filled with= flat or convex astragals. These astragals are sometimes simple, sometimes cut in = the form of a cord or cane, round which foliage is turned in spirals. = ILLUS. flutingw(1891a1)

--- $H Flutings, Zigzag.

Flutings d= rawn in a zigzag line.(1891a1)

$H Flux.

A substance used in = painting in enamel. It consists of glass, as clear and transparent as possible. It= is spread over the plate which is to be enamelled and serves as a ground, importing to the plate a brilliant surface and servin= g to fix the colours. During the process of enamelling every colour= is mixed with a certain quantity of flux. The term is also applied to a colourless enamel, employed by potters, which is bl= ended with colours and serves as their vehicle.(189= 1a1)

$H Fly. Heraldry

Her. The length and = also the side of a flag furthest from the mast.(1883m1)