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R. A kind of fuel ma=
de of
the tan obtained from the residuum of oil‑presses; it was thus the =
pulp
of olives.(1883m1) |
|
Fraenum, Frenum. R. A
horse's bridle, including the bit and the reins. [The bit was called orea or=
Greek FJ`:4@<[=3Dstomion].](1883=
m1) |
|
Fraise. (Cost.) A la=
rge
pleated collarette, such as was introduced in=
to |
|
Fraises. (Her.) The =
heraldic
name for strawberry leaves.(1891a1) |
|
FRAME. The ornamental border* surrounding a picture. The in=
crease
of pictures and prints as articles of decorative furniture has generated =
the
manufacture of frames by the gross, applied indiscriminately to all subje=
cts,
provided the size suits them. Frames were, however, in the old times, esp=
ecially
designed to suit each picture.† *<=
/span> See that word. =
†
See PICTURE-FRAME.(1855f1) |
|
Frame. (Arch.) A pro=
jecting
border, either square or circular, which surrounds a plain panel or a pai=
nted
or sculptured mural decoration. The term
is especially applied to the ornamental moulding=
s
of wood, sometimes gilded, sometimes painted, which surround pictures,
drawings, or engravings. Picture frames have varied considerably at diffe=
rent
periods. In early times they were carved out of solid blocks of wood and =
then
belonged entirely to the domain of art. Each frame was designed to suit t=
he
picture which was to be placed in it, that it might add to rather than
detract from its effect. But nowadays, when pictures or prints form a par=
t of
the decoration of every room, frames are manufactured by the dozen, and
nothing is required of them but that they should fit the picture. They are
produced by purely mechanical means, and generally consist of a flat moulding of wood, to which flutings, foliage, garla=
nds,
and other plastic ornaments are applied. The whole is then gilt or coloured by the ordinary processes. The rules of the
Royal Academy, which forbid any but gilt frames to be hung on their walls,
has checked variety in the manufacture of frames in England. However, a
tendency is now observable to employ bronze, stamped leather, plush, and =
even
sacking in frame‑making. The frames which surround drawings and
engravings under glass generally consist of flat slips of wood, a margin
being left between the frame and the print or drawing to heighten its ton=
e.
For water‑colour drawing a white mount =
is
best, while for drawings in monochrome a mount of a bluish tint is to be
preferred. In this kind of framing there is considerable scope for taste,
which is particularly shown in choosing a mount best suited in colour and dimensions to set off the drawing it
surrounds. 2 ILLUS. frame1, frame2(1891a1)
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R. (1) A G=
erman
spear, the iron head of which was short but very sharp; it was employed by
them as a pike. (2) A weapon used by the Franks.(1883m1) |
|
A wall which consist=
s of
beams, arranged as in the cut, with the spaces between filled with bricks,
plaster, or blocks of terra‑cotta. The brick or plaster is always of
the same thickness as the frame‑work made by the beams. ILLUS. framewal(1891a1)
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|
FRANCIS, S=
T., of Assissium
(1226) founder of the Franciscan friars, is generally represented as
receiving the sacred stigmata=
from
the figure of the Saviour on a winged cross; or as crowned with thorns, a=
nd
bearing stigmas; or trampling on a globe, significant of his contempt for=
the
world and its riches; or bearing a lily, emblem of his purity. |
|
Francisca. A kind of=
battle‑axe
used by the Franks.(1883m1) |
|
FRANCISCA.=
The
ancient Frankish battle-axe, differing chiefly in the angle at which it w=
as
conjoined with the handle from the more modern kind. (1855f1) |
|
One of the most cele=
brated of
the ancient Greek vases which have come down to us. It is archaic in style
and dates from the sixth century, being the work of the potter Ergotimus. Its ground is red, and it is decorated w=
ith
black figures in zones. Among the subjects represented are the procession=
of
the deities at the marriage of Thetis and Peleus,
the battle between the Lapithae and Centaurs,
several incidents in the life of Achilles, &c.(1891a1) |
|
|
|
|
|
FRANKFORT-=
BLACK. A
colour of German manufacture, obtained from calcined vine-branches. (1855=
f1) |
|
Certain fetichistic=
span>
spirits who were worshipped by the early inhabitants of Media. (1876c1) |
|
(Arch.) Stone which =
is cut
in square blocks and worked with a chisel.(1891a1) |
|
(Paint.) An
blue pigment chemically obtained. It is injured by heat but is otherwise
permanent.(1891a1) |
|
(Paint.) A pure white
pigment obtained from lead, possessing the qualities, good and bad, of wh=
ite
lead. On account of its destructive influence on other pigments its use
cannot be recommended.(1891a1) |
|
Fraenum, Frenum. R. A
horse's bridle, including the bit and the reins. [The bit was called orea or=
Greek FJ`:4@<[=3Dstomion].](1883=
m1) |
|
Fresco Painting (i.e=
. al fresco, upon fresh or wet gro=
und),
generally employed for large pictures on walls and ceilings, is executed with mineral and earthy pigments upon a
freshly‑laid ground of stucco. It was known to the ancients, and mu=
st
be distinguished from DISTEMPER PAINTING (q.v.) on plaster, which is a
different process. "Buon (or genuine) fresco,"
painted on the fresh surface of plaster, is distinguished from "fresco secco,"
or a process of painting on dry plaster commonly pra=
ctised
in |
|
FRESCO (Ital.),
FRESQUE (Fr.) Painting al fresco, upon fresh or wet gro=
und,
is executed with mineral and earthy pigments upon a freshly-laid stucco
ground of lime or gypsum. Vegetable pigments cannot be used for
fresco-painting, even when mixed with mineral pigments, and of the latter,
only those are available which resist the chemical action of the lime. Bu=
rnt
pigments are the best for this style of painting; they are generally grou=
nd
with clean water, and rendered so thin that they can be worked with the
brush; to some are added lime, milk, &c. The pigments unite with the
lime, or gypsum ground, and are therefore extremely durable; but as this
ground, after standing a night, is unfit for painting on, there must be o=
nly
a sufficient quantity for one day prepared. Fresco-painting is therefore
difficult, as it cannot be retouched. This Art, which is employed general=
ly
for large pictures on walls and ceilings, was understood by the ancients,=
but
first made of real importance by the Italians, in the sixteenth century. =
It is
a very common error in this country, with antiquaries and writers in gene=
ral,
to term the ancient paintings frequently found on church-walls, &c.,
FRESCOES; but there is scarcely an instance of a genuine fresco among them. They are distemper paintings on plaister, =
and
quite distinct in their style, durability, and mode of manipulation. (185=
5f1) |
|
Fresco. A mural pain=
ting
executed on a fresh ground ‑in Italian al fresco‑ of lime and gypsum. The brushes used are long
and pointed or square and flat, but in either case have very long hairs. =
The colours are diluted in earthenware vessels. The |
|
FLORENTINE
FRESCO, FRESCO SECCO. A
kind of painting first practised at * =
This
method has been recently employed at |
|
Fret, O.E. A caul of=
gold or
silver wire. "A fret of =
golde she had next her hair." (Chaucer.) |
|
Fret, Arch. An angular, interlaced architectural ornament of the Gr=
eek
and Romano‑Byzantine period, also known as broken batoon and Vitruvian scroll, and presenting some analogy with chevron or zigzag. There are crenelated or rectangular frets, triangular, nebulated, undulated frets, &c. |
|
Fret. (Arch.) A flat or semicircular moulding=
span>
applied to a flat surface and consisting of broken lines or interlacement=
s.
The meander pattern, for instance, is an example of the fret, as is also =
the
ornament known as the broken batoon shown in our second cut. There are also =
crenelated, triangular, and undulating frets. 3 ILLUS. fret1, fret2, fret3(1=
891a1)
|
|
FRET. An a=
ngular
interlaced ornament in architecture, as exhibited in our engraving. Its f=
orm
varies in heraldry, and is exhibited in our second cut, forming the arms =
of
the Harrington family, whence it is popularly known as the Harrington kno=
t. 2 FIGURES
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Fret. (Her.) A fret is a=
subordinary formed by interlacing two narrow
bands, crossing one another in saltire, w=
ith a mascle; or to use less technical terms=
, it
may be described as a thin St. Andrew's cross interlaced with a hollow
lozenge. ILLUS. fret4(1891=
a1)
|
|
Fret or Frette, Her.
One of the subordinaries. The illustration is one of the badges of the
Arundel family: a chapeau or and gules, surmounted by a fret or, and an acorn leaved vert. Fig.
330. Greek Fret. Fig. 331. Greek Fret. Fig. 332. Greek
Fret. Fig. 333. Undulated Fret. Fig. 334. Scroll Fret. Fig. 335. Badge of the Arundel
family, with fret.(1883m1)<=
span
style=3D'font-family:Arial;mso-bidi-font-family:"Times New Roman";mso-no-=
proof:
no'>
|
|
(Her.) This is the n=
ame of a
varied field, formed by the
alternation and interlacing of narrow bands crossing the shield in direct=
ions
of the bend and of the bend‑sinister, as shown in=
the
accompanying cut. ILLUS. fretty(1891a1)
|
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In Scandinavian mythology the goddess of l=
ove.
Her name was sometimes written Frua or Früa. (1876c1) |
|
In Scandinavian mythology the god of sunsh=
ine,
rain, and fruitful weather. (1876c1) |
|
Another form of the name of the Scandinavi=
an
goddess Friga, which see. (1876c1) |
|
Frieze, Frize (Cloth). A
coarse woollen cloth, first mentioned 1399. <=
/span>&quo=
t;Cloth
of gold, do not despize To match thyself
with cloth of frize. Cloth of frize, be not too =
bold,
Though thou be matched with cloth of gold."(1883m1) |
|
Frieze. Arch. That part of the entablature w=
hich
is included between the architrave and the cornice. (See Fig. 184.) Anoth=
er
name for it is ZOOPHORUS (q.v.). It was generally richly sculptured. The
finest frieze ever found is that of the Parthenon, the ornamentation of w=
hich
may be studied in the Elgin‑marble room at the |
|
FRIEZE. (Ital.) The central portion of the
entablature of a temple or other building, which, among the ancients, was
generally highly enriched by sculpture. The Elgin Marbles originally orna=
mented
the frieze of the Parthenon, and are among the finest works of sculpture =
the
world has ever produced. The victors of Marathon decorated the hitherto p=
lain
frieze of the |
|
Frieze. (Arch.) The =
part of
the entablature situated between the architrave and cornice in the ancient
orders. In the Doric order the frieze is decorated with metopes
and triglyphs; in the Ionic and Corinthian or=
ders
it is ornamented with bas‑reliefs forming a continuous design. The
finest example of an ancient frieze in existence is the frieze of the
Parthenon to be seen among the
|
|
In Scandinavian mythology the wife of Odin.
Her name was sometimes written Fricka. (1876c=
1) |
|
R. (frigidus, cold). (1) A co=
ol
apartment in a bathing establishment. (2) A cool place use=
d as a
larder.(1883m1) |
|
FRINGE. Se=
e FIMBRIA.
(1855f1) |
|
Fringe. Fringes have=
been
employed to decorate the borders of garments and cloths in every age and =
in
every country. They are frequently mentioned in the Bible, and many
representations of them occur in Assyrian monuments. The Egyptians, too,
added rich heavy fringes to their garments, and we are told that Julius
Caesar wore them on the sleeves of his tunic. They may be obtained by lea=
ving
the threads of the warp in the cloth after it is woven; these threads are
then knotted and so prevent the cloth from unravelli=
ng.
On the other hand the richest and costliest fringes are made separately a=
nd
sewn on to the cloth which they adorn. ILLUS. fringe(1891a1)
|
|
Frisquet. In wood en=
graving,
a piece of paper laid over the proof‑paper in the act of printing, =
to
keep clean the parts not intended to be exposed to the ink.(1883m1) |
|
Frisquet. (Engrav.) A name given to the piece of paper laid by=
wood‑engravers
on that portion of the block which they have not yet cut when they take a
proof of their work. A proof is thus obtained of only those lines already=
cut
by the engraver.(1891a1) |
|
FRISQUET. =
The name
given by wood-engravers to the paper with which they cover that portion of
the woodcut which is not yet cut away, but which forms no part of the
engraving when they are about to take a proof
of their work. It is simply a square piece of paper, the centre of which =
is
cut out in the general form of the subject to be printed, the proof-paper
being thus protected from contact with any ink but that on the surface of=
the
lines, which are then rubbed upon the paper by aid of a burnisher. (1855f1) |
|
R. A dice‑box =
of a
cylindrical form, called also turricula or pyrgus (Greek N4:`H[=3Dphimos]).(1883m=
1) |
|
(Arch.) The meaning = of this curious old term is the stool of = peace, and the chair denoted by it was in ancient times the last resting‑p= lace of those who sought sanctuary within the walls of a sacred building. The = frithstool was made of stone and stood close to the= altar in minster churches. A specimen is still to be seen at Beverley.(1891a1)<= o:p> |
|
An ancient emblem of=
silence
and secrecy, from a legend quoted by AElian t=
hat
the frogs of Syriapha never croak in their own
marshes. Hence it was adopted by Maecenas, the friend of Augustus, for his
device. (Fig. 336.) Fig. 336. Frog. The device of Maecenas=
.(1883m1)
|
|
Frontal. The cloth,
frequently of embroidered silk, which was hung over the front of an
altar.(1891a1) |
|
FRONTAL. In
Costume, the ornamental band for the hair, used by the Greek and Roman
ladies; the metal face-guard of a soldier. In Ecclesiastical Art, the term is applied to the hangings or
ornamental panels in front of an altar, which were of three kinds - 1, of
precious metals, adorned with enamels and jewels; 2, of wood, painted, gi=
lt,
embossed, and often set with crystals; 3, of cloth of gold, velvet, or si=
lk
embroidered, and occasionally enriched with pearls. * * =
See
ANTEPENDIUM.(1855f1) |
|
Frontale, Gen. (frons, the forehead). (1)
A frontlet or head‑band worn by Greek women, and to be seen princip=
ally
on the statues of goddesses. (2)
A plate or band of metal placed across the forehead of horses (Fig. 337 ) as a protection for the frontal bone. The Mede=
s,
Persians, Greeks, and Romans made use of the frontale for their cavalry
horses. For the ecclesiastical F=
rontal,
Mediaeval, see ANTEPENDIUM. Henry III. gave a
FRONTAL to the high altar at Westminster Abbey, upon which, besides
carbuncles in golden settings, and several large pieces of enamel, were as
many as 866 smaller pieces of enamel. Fig. 337. Frontale of a bridle.(1883m1)
|
|
Frontispiece. In
Architecture, the façade or face of a building. The engraved title=
‑page
of a book was originally called the frontispiece.(1883m1) |
|
Frontispiece. A term=
applied
to a reproduction of a drawing or painting obtained either by engraving or
some mechanical process, and placed as an illustration facing the first p=
age
of a book or magazine.(1891a1) |
|
FRONTISPIE=
CE. An
old term in architecture for the face (façade)
of a building. In engraving, =
it now
means that print which faces the title-page of a book, whatever the subje=
ct
may be, although formerly it meant the engraved title-page itself. (1855f=
1) |
|
Another form of the name of the Scandinavi=
an
goddess Freyia, which see. (1876c1) |
|
Fruit. (Her.) Fruits=
are
occasionally employed in heraldry as charges. Those of most frequent
occurrence are acorns, nuts, appl=
es,
and grapes.(1891a1) |
|
Fruits. Representati=
ons of
fruits combined with foliage often appear as forms of sculptured ornament=
s. [ |
|
FRUIT-PAIN=
TING may
be considered to have originated with Zeuxis, who painted a bunch of grap=
es so
naturally, that the birds came and pecked at them. Since the introduction=
in
modern times of pictures of still=
life,
fruit and flower-painting has become a distinct branch of Art, cultivated
principally in the |
|
FRUIT-WORK=
. This
branch of Art attained some excellence in antiquity, although used only f=
or
architectural ornaments. Workers in clay and bronze also imitated fruits;=
and
in the time of Marcus Varro, there lived at |