$H Fo. Chinese
|
Chinese. (See DOG OF=
FO.)
The "Hand of Fo" is a fragrant frui=
t, a
kind of c&ea=
cute;drat,
generally styled the Chinese hand‑plant, used to perfume
apartments.(1883m1) |
$H Focale. Roman
|
R. (fauces, the throat). A sq=
uare
piece of cloth which was wrapped round the neck, and covered the
ears.(1883m1) |
$H Foculus. Roman
|
R. (dimin. of focus). A portable fireplace; a brazier or chafing‑dish. (Fig. 320.) Fig. 3= 20. Foculus.(1883m1)
|
![](3D"fo_files/image033.gif")
$H Focus. 1. Roman; 2. Photography
|
R. The hearth or fir=
eplace
of a house, consecrated to the Lares or house=
hold
gods.(1883m1) |
|
(Photo.) To put an o=
bject in
glass to focus is to make either it or the glass to retire or advance unt=
il
the image on the glass is absolutely clear.(1891a1) |
$H Foil. Architecture
|
Foil, in Architecture. (See TREFOIL, QUATREFOIL, &c.)(1883m1) |
|
FOIL. A th=
in plate
of metal, placed under precious stones by jewellers, to give them greater
brilliancy. An arc in architecture, used for windows in various conjuncti=
ons -
as trefoil, quatrefoil, &c. (See those words.) (1855f1) |
|
Foils. (Arch.) The d=
ivisions
or compartments of an arch or spandril formed=
by
arcs of circles in Moorish and Gothic architecture. Arabian arches are
divided into foils, which are always of an uneven number. Sometimes in ar=
ches
inscribed in rectangular openings the division and outline of the foils a=
re
carried on to the extrados of the vault. In the pointed style many exampl=
es
of windows are found divided vertically by ribs or mullions, which cross =
and
interlace at the spring of the arch, leaving foils between them in the fo=
rm
of convex or concave portions of arcs of circles, their intersections bei=
ng
formed by projecting crockets often ornamented by foliage. 2 ILLUS. foils1, foils2(1891a1=
)
|
![](3D"fo_files/image034.gif")
![](3D"fo_files/image035.gif")
$H Foil Arch. Architect= ure
|
(Arch.) A foil arch =
is an
arch made of our several smaller arches or foils.(1891a1) |
$H Fold.
|
A term applied to th=
e angles
and broken masses formed by draperies which fall loose. The proper treatm=
ent
of the folds of draperies is an important part of the work of both sculpt=
or
and painter.(1891a1) |
$H Folding Doors. [See Doors, Fol= ding.]
$H Foldingstool or Folding-stool. [See Faldstool= - Editor]
$H Foliage.
|
FOLIAGE. T=
he leaves
of trees and plants; the adaptation of such leaves to ornamental purposes=
. (1855f1) |
|
Foliage. Gen. Nearly every style of architecture has= made use of foliage for purposes of ornamentation. In antiquity, the leaves of= the acanthus, palm, laurel, olive, ivy, &c., were thus employed; the Roma= no‑Byzantine, Byzantine, and Pointed styles utilized for the same purpose the vine, oak, cinquefoil, parsley, mahonia, mullein, thistle, &c. Foliage has been applied to the decoration of capitals, archivolts, bands, cornices, and friezes; and it has also been used to form CROCKETS (q.v.), crownings, pinnacles, &c. Architectural work thus enriched is said to be FOLIATE= D, and the ornament itself is called FOLIATION. Fig. 321. Foliage of the Acanthus. Fig. 322. Foliage on moulding.(1883m= 1)
|
|
Foliage. The reprodu=
ction
and arrangement of leaves, either real or fantastic, is one of the most
frequent systems of ornament employed in architecture. In the ancient sty=
les
of architecture foliage is as a rule borrowed from the flora of the count=
ry.
Thus on the monuments of
|
![](3D"fo_files/image036.gif")
![](3D"fo_files/image037.gif")
![](3D"fo_files/image038.gif")
![](3D"fo_files/image039.gif")
![](3D"fo_files/image040.gif")
$H Foliated. = Architecture
|
(Arch.) Decorated wi=
th
foliations or featherings (q.v.).(1891a1) |
|
FOLIATED.
Decorated with foliage. The same word is also applied to the architectural
enrichments also termed featherin=
gs.
(See that word.) (1855f1) |
$H Foliation. Architect= ure
|
Foliation. (Arch.) A=
term
applied to the cusps or foils which separate the small arcs within a larger arch or spandril
in Gothic architecture. Trefoil or cinquefoil arches afford us examples of
foliation.(1891a1) |
|
FOLIATION.
Ornament based upon the form of natural foliage, but frequently exhibiting
conventional rather than real leaves and flowers. (1855f1) |
$H Folkwang. Scandinavia<=
/st1:place>
|
In Scandinavian mythology the name of the
residence of the goddess Freyia, in the sacre=
d city
of |
$H Folliculus. Roman
|
R. A leather cap enc=
ircling
the hole by which an oar protruded from a ship. The term is a diminutive =
of
FOLLIS (q.v.).(1883m1) |
$H Follis. Roman
|
R. A small ball of l=
eather
inflated with air, which also went by the name of folliculus; used for a
plaything.(1883m1) |
$H Fong‑hoang. Chinese
|
Chinese. A fabulous =
bird
which is immortal, lives in the highest regions of the air, and only
approaches men to announce to them happy events and prosperous reigns. It=
is
easily recognized (on pottery, &c.) by its=
carunculated head, its neck surrounded by silky fea=
thers,
and its tail partaking of the Argus pheasant and the peacock. (Jacquemart.)(1883m1) |
$H Fons or Fountain. [See Fountain - Editor]
|
Fons, Fountain. Gen. In antiquity, natural springs a= nd fountains were objects of religious worship. Fig. 323 represents a Pompei= an fountain known as the Fountain of Abundance. Fig. 323 Pompeian fountain.(1883m1)
|
![](3D"fo_files/image041.gif")
$H Font. Baptismal
|
Font, Chr. Th= e vessel which contains the consecrated water used in the administration of baptis= m, by sprinkling or aspersion (Fig. 324), introduced in lieu of the original mode of immersion (Fig. 325). (Compare PISCINA.) Fig. 324. Baptismal font (Romano‑Byzantine). Fig. 325. Early English Font.(1883m1)
|
|
Font, Baptismal. A b=
asin in
which the holy water used in the ceremony of baptism is kept. The fonts of
the Romano‑Byzantine and Gothic periods were of stone, copper, or l=
ead.
The majority of them were covered with a lid. In early times this lid was
flat and unornamented, as in our second cut, which represents a font of
Norman workmanship in
|
|
FONT. The vessel used to contain the
consecrated water for baptism, usually constructed of stone, and lined wi=
th
lead; in the earlier ages of the Church they were always large enough to
allow of the complete immersion of infants. The forms of fonts have great=
ly
varied at different periods, and often exhibit exquisite richness both of
design and ornament. Fonts were required to be covered and locked; origin=
ally
these covers were simple flat moveable lids, but they were subsequently v=
ery
highly ornamented, assuming the form of spires, and enriched with various
decorations, in carved wood, taking the form of on pinnacles, buttresses,
&c. ** FIGURE **=
The
font we engrave is from one in
|
![](3D"fo_files/image042.gif")
![](3D"fo_files/image043.gif")
![](3D"fo_files/image044.gif")
![](3D"fo_files/image045.gif")
![](3D"fo_files/image046.gif")
$H Fontange.
|
Fr. "A modish head‑dress," deriving = its name from Mademoiselle de Fontange, a lady of the court of Louis XIV., who invented it. (Fig. 326.) Fig. 326. The Fontange Head‑dress.(1883m1= )
|
![](3D"fo_files/image047.gif")
$H Font‑cloth. Old English
|
O.E. (1) The hanging=
with
which the font was ornamented. (2) The CHRISMALE (q.v.).(1883m1) |
$H Fools.
|
Fools. In Church
architecture and decoration, grotesque figures of men with fool's cap and
bells are frequently seen under the seats of choir‑stalls and miserere seats.
(See the article OBSCOENA.)(1883m1) |
|
FOOLS. We frequently meet in ancient churc=
hes,
especially under the seats of choir-stalls, representations of men in
grotesque costume, and in various postures, with a fool's-cap and bells.
These may be emblematical of the Vices, but they also may have been
introduced with other significance, the source of which is obscure. The
introduction of these and other ludicrous, or even indecent, images, in t=
he very
buildings dedicated to the solemn worship of God, has long been a subject=
of inquiry
among the learned, and of surprise and scandal to the generality of perso=
ns. The
source of many of these representations may be traced to the pagan orgies=
of the
Saturnalia and Lupercalia. It is necessary to=
draw
a great distinction between the b=
urlesque
figures and symbolical representations of the Vices and Virtues, which are
often introduced under the guise of animals whose nature corresponds to t=
he
passion or virtue represented; hence human beings may be depicted with he=
ads
of beasts and birds - such as foxes, lions, or hawks, to denote cunning,
courage, or rapacity. Again, animals are frequently introduced with the s=
ame
intention, and most admirable moral lessons are imparted under the same t=
ypes
as have been selected by AEsop and his imitat=
ors. † †
Pugin's Glossary of Ecclesiastical
Ornament and Costume. (1855f1)=
|
$H Foolscap.
|
A fool's cap was the=
device
of the Italian society called the Granelleschi,
formed at |
$H Foot.
|
A term applied to th= e lower part of a vase which serves as a support and generally consists of a moulding resting on a small square plinth.(1891a1)<= o:p> |
$H Foot‑board. Architect= ure
|
(Arch.) The base of =
Gothic
stalls resembling a step raised some height from the ground.(1891a1) |
$H Footing. Architect= ure
|
(Arch.) A continuous=
projection
forming the base of a wall. The base of a column is also called a footing=
, as
is the base of a pedestal or pilaster. ILLUS. footing(1891a1)
|
![](3D"fo_files/image048.gif")
$H Foot‑lights. Architect= ure
|
(Arch.) Rows of gas =
jets or
lamps placed on a level with the stage, which serve to throw a strong lig=
ht
on the actors.(1891a1) |
$H Foot‑pace. Architect= ure
|
(Arch.) A term which=
denotes the da&iu=
ml;s
of a hall, or that part of it in which the floor is raised above the gene=
ral
level.(1891a1) |
$H Foot‑stall. Architect= ure
|
(Arch.) A now obsole=
te term
for pedestal, to which word it bears an etymological resemblance.(1891a1)=
|