$H Fucus. Cosmetic
|
Gr. Cosmetic paint, =
much
used by the Greek and Roman ladies. They stained their eyebrows black wit=
h a
preparation of sulphuret of antimony called <=
span
class=3DSpellE>stimmi,=
or of
soot, asbolo=
s.
The Roman ladies, in addition to rouge and white for the complexion, used=
to
trace out the veins on their temples with a blue paint, and they wore the
patches of Queen Anne's time (splenia). "From beef without mustard, a servant w=
hich
overvalues himself, and a woman w=
hich painteth, ‑ good Lord deliver us!" (=
Stubbes=
.)(1883m1) |
$H Fufluns. Or Fuflunu. Etruria
|
The Etruscan Bacchus, after whom was proba=
bly
named the city of Pupluna or Populonia.
Objects dedicated to him were termed Fuflunsl, or Fuflunl, "belonging to Bacchus." (1876c1) |
$H Fulham Pottery.
|
In the 17th century =
John
Dwight established a manufactory of porcelain and earthenware at Fulham. He took out a patent for the manufacture of
porcelain, but not satisfied with his progress he burned his moulds and
receipts and devoted himself to the making of earthenware. Some interesti=
ng
figures and statuettes made at the Fulham pot=
teries
are to be seen in the British Museum.(1891a1) |
$H Fulla. Scandinavia<=
/st1:place>
|
In Scandinavian mythology a goddess, the
sister and companion of the goddess Freyia. H=
er
name was also sometimes written Volla. (1876c=
1) |
$H Fuller's Bat or Club.
|
Fuller's Bat or Club. Attribute
of St. James the Less, who was killed with such an implement.(1883m1) |
|
FULLER'S-B=
AT, or
CLUB. The attribute of St. James the Less, who was martyred by blows from
this implement, after he had escaped death by being precipitated from a h=
igh
tower. (1855f1) |
$H Fullonica, Fullonum.
|
R. (fullo, a fuller). A fulle=
r's
establishment. An example of one, in perfect preservation, is preserved a=
t |
$H Fulmen.
|
Fulmen. The thunderb=
olt of
Jove. (See also ILLAPA.) It is generally represented as a double cone of
flame, with lightnings on each side, or frequ=
ently
with wings.(1883m1) |
|
FULMEN. (Lat.)
The thunderbolt of Jupiter; sometimes represented as a conical flame, at
others as a double cone of flame, with darts of lightning at the sides, * and frequently with the addit=
ion of
wings, to denote speed. * =
See cut
to EAGLE, which is there represented as bearing the fulmen or Jove. (1855=
f1) |
$H Fumarium.
|
R. (fumus, smoke). A chamber =
in the
upper part of a Roman house, into which the smoke from the fires was
conducted. The smoke‑room was used for drying wood and ripening win=
e.
The "Rauchkammer" or smoke attic is=
still
a common institution in good houses in Germany.(1883m1) |
$H Funale.
|
R. (funis, a rope). A link or=
torch
made of various materials.(1883m1) |
$H Funalis or Fanarius.
|
(sc.
equus).
The trace‑horse, so called because its traces, instead of being of
leather, were of rope (funis).(1883m1) |
$H Funarius. (See FUNALIS.)<= /span> (1883m1)
$H Funda, Sling.=
|
Funda, Sling. Gen. T=
he sling
has been employed by most of the peoples of antiquity as a weapon of warf=
are
for hurling stones, chiefly flints or leaden bullets (glandes). The slings of t=
he
Egyptians were made of leather thongs or plaited cord. The funaitores, or
slingers, of the Greek and Roman armies carried each a provision of stone=
s in
the folds (sinus) of his pallium, a shield on his left arm, and brandished h=
is
sling in the right hand. The most celebrated slingers were the inhabitant=
s of
the |
|
FUNDA. (Lat.) A sling for discharging le=
aden
pellets or stones, used by the soldiers of antiquity, particularly of the
more barbarous countries; hence the term funditores
for such regiments. (1855f1) |
|
Sling. (See BALEA, FUNDA.) (1883m1) Balea, Balia. Med. L=
at.
(from =
$V88T [=3Dballo], to thr=
ow). (1) A
sling. (2) A ballista. From t=
heir
skill in the use of slings, the inhabitants of Majorca, |
$H Fundibalus, Fundibalum.
|
R. (= $V= 8= 8T[=3Dballo], to throw). A machine for h= urling stones; a kind of balista (q.= v.). (Fig. 338.) Fig. 338. Fundibalus‑Onager.(1883m1)
|
![](3D"fu_files/image023.gif")
$H Fundula.
|
R. A blind alley or =
cul‑de‑sac. Fig. 339
represents one of the kind at Fig. 339. Street at Pompeii.(1883m1)
|
![](3D"fu_files/image024.gif")
$H Fundulus.
|
R. The piston of a h=
ydraulic
machine.(1883m1) |
$H Funeral Banquet.
|
A funeral banquet ve=
ry often
forms the subject of Greek stelae or sculptur=
ed
tomb‑stones. The dead man is represented as reclining on a couch and
receiving from his relatives the food necessary, according to the Greek i=
dea
of death, to support his life in the tomb.(1891a1) |
$H Funeral Ceremonies. 1. Greek; 2. Roman
|
1. Greek. The expressions =
J *\6"4", <@:4.`:,<", or BD@FZ6@<J", the just and lawful rites, are expressive of =
the
Greek idea that the proper burial of the dead was a most sacred duty to t=
hem.
The first act was to place in the mouth of the corpse an obolus, with which the sp=
irit
would pay the ferryman in Hades. This coin was then called danaké<=
/span>.
The body was then washed and anointed, the head crowned with flowers, and=
the
handsomest robes put on. All this was done by the women of the family. By=
the
side of the bed upon which the corpse was then laid (BD`2,F4H[=3Dprothesis]) wer=
e placed
painted earthen vessels (lecuthoi; see LECYTHUS), which were afterwards buried =
with
the corpse. (These vases are frequently disinterred in modern excavations=
.) A
honeycake (melittouta) to throw to the dog Cerberus was laid on t=
he
bed. Before the door a vessel of water (ostracon or ardalion) was set, to be =
used,
like the holy water of Catholic times, by persons leaving the house, for purification. On the third day after
death, the e=
cphora,
or carrying out for burial, took place in the morning before sunrise. The=
men
walked before the corpse, and the women behind. Hired mourners (threnodoi)
accompanied the procession, playing mournful tunes on the flute. The bodi=
es
were either buried or burned, until cremation gave way to a Christian
prejudice. The body was placed for burning on the top of a pyre (Gr. BØD[=3Dpur], fire); an=
d, in
remote ages, animals, prisoners, or slaves were burned with it. Oils and
perfumes were thrown into the flames. Finally, the s=
mouldering
ashes were quenched with wine, and relatives and friends collected what
remained of the bones. The bones were then washed with wine and oil, and
placed in urns, often golden.(1883m1) |
|
2. Roman. Funera justa
conveys the same idea as the Greek dicaia of the right and title of the dead to a proper
observance. With the Romans, the washing, anointing, &c. of the body =
was
done by slaves (pollinctores)
of the undertakers, who were called libitinarii, because they dwelt near the temple of Ven=
us Libitina, in which all things requisite for funeral=
s were
sold and a mortuary register was kept. The coin having been duly placed in
the mouth, the body was laid out in the vestibule dressed, of ordinary
citizens in a white toga, and of magistrates in their official robes, and=
the
couch was strewn with flowers, and a branch of cypress was placed at the door of the house. All funerals wer=
e,
in ancient times, performed at night, but afterwards only those of the po=
or.
At a great funeral the corpse was carried out on the eighth day, preceded=
by
musicians (c=
ornicines,
&c.) and mourning women (praeficae), who chanted a funeral hymn (naenia);
players and buffoons (histriones,
scurrae<=
/span>)
followed, and a procession of the freed slaves wearing the cap of liberty=
(pileati=
).
Images of the deceased and of his ancestors were borne before the corpse,
which was carried on a litter (feretrum). The common bier of the poor was called sandapila, and
its bearers vespillones, because they bore it forth in the evening=
(vespere=
). The
couches of the rich were of ivory, richly ornamented with gold and purple.
The relations walked behind in mourning, sons with the head veiled, and
daughters with dishevelled hair. At the forum=
a
funeral oration (laudatio)
was delivered, and thence the procession went to the place of burial or
cremation. Those who were buried (as all were subsequently to the 4th cen=
tury
A.D.) were placed in a coffin (arca or loculus), often of stone. The Ass=
ian
stone, from Assos in |
$H Funeral Chariot.
|
=
A carriage
of no definite form, but bu=
ilt
after the special design of a painter or architect, on which the body of a
hero is carried to his last resting‑place. Such is the chariot now =
in
the crypt of |
$H Funeral Palls.
|
FUNERAL PA=
LLS. The
palls in ancient use, especially at the funerals of persons of distinctio=
n,
were of the most costly materials, and beautifully ornamented, being cons=
tructed
of velvet or cloth of gold, embroidered with heraldic devices and imagery.
The form was usually square, sometimes with lappets, with a cross extendi=
ng
the whole length and width, formed of a different material from the pall
itself, and generally enriched with ornaments or appropriate inscriptions.
The colour of the palls varied at different periods. In the sixteenth
century, and perhaps earlier, black was used. They were frequently made of
red, purple, green, and blue velvet, or of cloth of gold, with reference =
to
the heraldic tinctures that were peculiar to the deceased. (1855f1) |
$H Funeral Urns.
|
Funeral Urns of Indi=
an
pottery are found of extremely ancient date. That represented in Fig. 340=
is
a covered jar, of primitive make, with an inscription in ancient characte=
rs;
its date is probably from 260 to 240 B.C. (Jacquemart.) Fig. 340. Covered urn of red pottery. Ohojepore<=
/span>.(1883m1)
|
![](3D"fu_files/image025.gif")
$H Funerary Cones. Egypt
|
Rough
terra cotta cones about ten inches high and three inches across, with
horizontal lines of inscription on the base, which were usually coloured.=
The
inscription gives the name of the deceased. Various theories have been
proposed as to the probable use of these objects, but it is most likely t=
hat
they were models of loaves or cakes that were placed in the tomb, and nei=
ther
seals, architectural ornaments nor marks for sepulchral sites.(1902b1) |
$H Funicular Ornament. Architect= ure
|
(Arch.) A round conv=
ex moulding in the form of a small cable. ILLUS. funicula(1891a1)
|
![](3D"fu_files/image026.gif")
$H Fur. Heraldry
|
(Her.) Eight furs are
employed in heraldry: Ermine, Ermines; Erminois, Pean; Vair, CounterR=
09;vair; Potent, Counter‑potent. Descriptions of=
these
different furs will be found under the name of each of them.(1891a1) |
|
Her. The furs are of comparatively rare a=
ppearance
in heraldry, and do not appear in the best ages. Vair and ermine are common. In Fig. 341 is an example of the treatment=
of
ermine from the
Stru=
tt says that "the furs of sables, beavers, f=
oxes,
cats, and lambs were used in |
![](3D"fu_files/image027.gif")
$H Furbelow. Old English
|
FURBELOW. A
puckered flounce, for ornamenting various parts of the dress. (1855f1) |
|
Furbelow. O.E. An or=
nament
on the petticoat of a woman's dress, described as a "puckered
flounce," to display which it became the fashion to roll back the sk=
irts
of the gown. "The Old Mode and the New, or the Country Miss with her
Furbelow," is the title of an old play, temp. William and Mary.(1883m1) |
$H Furca.
|
Furca. R. A fork wit=
h two
teeth (biden=
s),
or two prongs; a hay‑fork: furca carnarii, a fork used for taking down the meat =
hung
up in the ca=
rnarium.
The term fur=
ca
was further applied to a kind of fork by aid of which a foot‑traveller carried his baggage, but the more usual n=
ame
for this kind of fork was aerumna (q.v.). Also, a wooden fork placed for punishm=
ent
across the shoulders of slaves and criminals, to the prongs of which the
hands were tied. Reversed it formed a cross upon which criminals were
executed, either by scourging or by crucifixion with nailing. The patibulum was a similar instrument of punishment fo=
rmed
like the letter H.(1883m1) |
|
FURCA. (Lat.) A Roman instrument of
punishment, shaped like the letter V, the arms of criminals being stretch=
ed and
secured to the top of each branch, and their feet secured to the junction=
at
bottom; when thus affixed, criminals for capital punishment were scourged=
to
death. It was employed in crucifixions, the arms and feet being nailed, a=
nd
the criminals dying from exhaustion. Some writers have contended that the=
cross
upon which the Saviour perished was of this form. (1855f1) |
$H Furgon. Old English
|
O.E. (Fr. fourgon=
). A
fork for putting faggots and sticks on to the fire.(1883m1) |
$H Furies. Mythology
|
The daughters of ear=
th and
darkness, whose duty it was to pursue the guilty who had left their sins =
unatoned. Their proper abode was in Hades, but, as =
in the
story of Orestes, they were sometimes sent to persecute the guilty on ear=
th.
In the Greek tragedy which bears their name they appear as women of hideo=
us
mien, clothed in black, with snakes for hair. The sculptor Calamis is said to have fashioned some statues of t=
he
furies and to have invested them with none of the hideous features which =
were
ascribed to them by Aeschylus. In later times they were regarded as maide=
ns
of a dignified beauty.(1891a1) |
$H Furnace, Enameller's.
|
A furnace of fire=
209;proof
earthenware covered with a lid and placed on a tripod or solid block thre=
e or
four feet high. Into this furnace the plates covered with powdered enamel=
are
placed, until they become of a white heat. ILLUS. furnace(1891a1)
|
![](3D"fu_files/image028.gif")
$H Furniture.
|
The furniture of a r=
oom
includes all that contributes to its decoration. Considerations of expedi=
ency
as well as the varying taste and fashion of the time assign to furniture a
very important place among the decorative arts.(1891a1) |
$H Furnus.
|
R. (1) A baker's ove=
n. (2) A
baker's shop. (See FORNAX.)(1883m1) |
$H Furrings. Architect= ure
|
(Arch.) A small piec=
e of
wood placed on a roof at the base of the rafters and projecting some
distance: its purpose is to carry the rain water off from the vertical wa=
ll. ILLUS. furrings(1891a1)
|
![](3D"fu_files/image029.gif")
$H Fuschan in Appules. O.E. Fustian of=
Naples
$H Fuscina.
|
Fuscina. R. (1) A fo=
rk with
three prongs used for spearing fish. (2) The trident of the retiarius.
Originally it was called tridens, and used as a goad to drive horses. |
|
FUSCINA. (=
Lat.) A three-pronged fork or tr=
ident,
used for stimulating horses in a chariot, for harpooning fish, and by the
Roman gladiators (retiarii), =
in
attacking an adversary, when enveloped by the net in which they were first
entangled. (1855f1) |
$H Fuscinula. (dimin. of FUSC=
INA,
q.v.). A carving‑fork.(1883m1)
$H Fusée.=
|
Fusée. Fr. A =
gun with
a wide bore, like a blunderbuss.(1883m1) |
|
FUSÉ=
;E. (Fr.) A gun with a wide bore, a sort of blu=
nderbuss.
(1855f1) |
$H Fusiform.
|
(fusus, a
spindle). In the form of a spindle.(1883m1) |
$H Fusil.
|
(Her.) The fusil is an elongated form of th=
e lozenge, and like the lozenge is
reckoned as a subordinary. It is usual for several fusils to be borne together on a
shield.(1891a1) |
|
Fr. The steel for st=
riking
fire from a flint; an ancient device of the Dukes of Burgundy, the motto
inculcating the worthlessness of latent virtues never brought into action=
. Fig. 342. Fusil. Device of Philip of
|
![](3D"fu_files/image030.gif")
$H Fusilly. Heraldry
|
(Her.) This is the n=
ame
given to the varied field for=
med by
covering the surface of the shield with alternating fusils.(1891a1) |
$H Fusi‑yama.
|
The sacred mountain =
of the
Japanese, often depicted on their porcelain.(1883m1) |
$H Fustian.=
|
"A species of c=
otton
cloth much used by the In the 15th century |
$H Fustibalum.
|
R. A pole about four=
feet
long, furnished with a sling (funda) in the middle. It was wielded by both hands, and
was used to hurl huge stones to a distance.(1883m1) |
$H Fusus.
|
(Gr. =
–JD"6J@H[=3Datraktos]). |
$H Fygury. Old English
|
O.E. An old name for=
silks diapered with figures of flowers and fruit. A cope in the |
$H Fylfot or Filfot.
|
Fylfot. A mystic cro=
ss of
very ancient origin, which is said to have been introduced into Europe fr=
om
|
|
Fylfot or Filfot. Th=
is
mysterious ornament exactly resembles the Hindu arani of remote antiquity=
, i.e.
the instrument of wood by which fire was obtained by friction; which is t=
he
symbol of Agni. This symbol h=
as
never been lost, and occurs sixty times on an ancient Celtic funereal urn;
also on monumental brasses and church embroidery of the Middle Ages. It is
generally called the GAMMADION. Fig. 343. Fylfot.=
(1883m1)
|
|
FYLFOT. A =
cross of
peculiar form, frequently introduced in decoration and embroidery during =
the
middle ages. It occurs on monumental brasses anterior to the accession of
Richard II., being found on the girdle of a priest of the date A.D. 1011.=
It
is considered to have been in use at a very remote period as a mystic sym=
bol
amongst religious devotees in
|
![](3D"fu_files/image031.gif")
![](3D"fu_files/image032.gif")
![](3D"fu_files/image033.gif")