$H Gabal.

A Syrian city which is supposed to have be= en the town called by the Egyptians Kapaon. (187= 6c1)

$H Gabardine or Gallebardine. Costume

Gabardine or Gallebardine. It. "A rough Irish mantle, or horseman's coat; a long cassock." It = was, and is, a favourite outer garment of the Jews.(1883m1)

Gabardine. (Cost.) A= cloak of uncertain shape, in all probability reaching to the feet and fastened round the waist by a girdle. It was worn by shepherds, and from the passa= ge in Shakspeare's Merchant of Venice, "He spat upon my Jewish gabardine," it has been thought to have been the dress affected by the Jews.(1891a1)

GABARDINE.= (Ital.) A loose outer garment, described in Florio's World of Wo= rds, 1598, as "a fisherman or shepherd's cloak," and by Cotgrave, "a cloak of felt for rainy weather;" a long coat or cassock, of coarse, and for the most part motley or party-coloured, stuff. From the u= se of the term by old writers, it would appear that any kind of loose, exter= nal cloak was termed a gabardine. In the middle ages, its wear was rendered obligat= ory on the Jews; and it may yet be traced in the long, loose great-coat buckl= ed round the waist, and worn by elderly Jewish men on the Continent, and occ= asionally in our own country. (1855f1)<= /o:p>

$H Gab-gab-niki.=

The Accadian n= ame of a city or district whose site is not known. (1876c1)

$H Gabion. Fortification

Fortification. A bas= ket filled with earth, used in the construction of earthworks for defensive purposes.(1883m1)

$H Gable. Architecture

$H GABLE. = The pedimental face of a building, formed by walling up the ends of a roof. (= 1855f1)

Gable. Arch. (German= Giebel,= point). The triangular end of a house from the eaves to the top.(1883m1)

Gable. (Arch.) A kin= d of triangular pediment, always very high in proportion to its width, frequently employe= d in Romanesque and Gothic architecture. In buildings of the Romanesque period gables serve to mask roofs and then only present a flat surface terminate= d by a cross. In Gothic architecture, gables surmounted by crockets and finial= s, not only mask the slope of a roof but also terminate the pointed arches a= bove doorways. Sometimes several gables rise on different planes, the one above the other, each one projecting beyond the one beneath it. This method of decoration was particularly adopted in domestic buildings of the Gothic period. In modern times gables are rarely seen. There is one peculiar kin= d of gable, the sides of which, instead of being straight lines, present a ser= ies of projections, which resemble the steps of a staircase. These projections are called corbie‑steps (q.v.) in Scotland. Many old houses in Belgium as well as in Scot= land are found with gables built upon this plan. Properly speaking a gable only denotes the pediment we have described, whereas a gable‑end denotes= the gable and the whole wall which it surmounts. 3 ILLUS. gable1, gable2, gable3(1891a1)

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

$H Gablet.

Diminutive of gable = ‑ applied to furniture and niches.(1883m1)

(Arch.) A small gabl= e used in Gothic buildings to surmount a niche in which a statue was placed, or = to terminate small pointed arches.(1891a1)

GABLET. Th= e small gable used for the summit of niches or gothic tabernacle-work. It is the diminution of gable. (1855f1)=

$H Gabriel.

Gabriel. In Cabalistic astronomy the angel of the mo= on. (1876c1)

$H Gabriel, St.

Gabriel, St. The angel who undertook the duty of a messenger= . He it was who announced the birth of Christ, and it is in relation to his ev= ent that he is generally represented in art. He always appears as fully draped and carries a sceptre or lily. Sometimes he i= s in a kneeling posture, sometimes he floats through the air, his arms folded on= his breast.(1891a1)

GABRIEL, S= T. One of the three Archangels - the "Messenger" - the "Angel of = the Annunciation," In pictures representing this mystery, he is frequent= ly depicted in royal robes, bearing a sceptre, or a lily, and kneeling. In s= ome instances he is represented floating in the air, with his hands crossed over his breast. (1855f1)=

$H Gad. [Also see Gadl= yngs - Editor]

Gad. "Good Fortune." The Phenician name of the star Jupiter. (1876c1)

$H Gadatas.

According to the Greek historians a conspirator who, together with Gobryas, slew = Laborosoarchodus, king of Babylon. (1876c1)

$H Gades.

A city in Spain which was conquered b= y Nabukuduruzur. It is now called Cadiz. (1876c1)

$H Gadlyngs.

Gadlyngs. O.E. Spike= s on the knuckles of gauntlets, like the modem "knuckle‑dusters."(= 1883m1)

Gadlyngs. Small spik= es placed upon the knuckles of gauntlets in the fourteenth century. They were more for ornament than use, but they suggest the bosses of metal which ma= de the = Ë= := "= H Ð= .= L= H, the boxing‑glove of the Greeks, such a formidable weapon. ILLUS. gadlyngs(1891a1)

GADS, or G= ADLYNGS. In Armour, are the bosses or = small spikes of steel with which the knuckles were armed. The gads of the gaunt= lets of Edward the Black Prince are of brass, and made in the shape of lions or leopards. FIGURE(1855f1)

$H Gads [See Gadlyngs<= /span> - Editor]

$H Gadytia.

A district of Arachot= ia, in Persia, where Vibanus, the Satrap, a second time defeated the arm= y sent against him by Veisdates, the rebel king of <= st1:place w:st=3D"on">Persia. See Viba= nus. (1876c1)

$H Gaesum.

R. A weapon of Celtic origin. It was a strong, heavy javelin with a very long barbed iron head, used rather as a missile than a spear.(1883m1)

$H Gaga-makheru.= Egypt

Another name of King = Menkera of the IIIrd dynasty. (1876c1)

$H Gage. Mediaeval

Med. A glove or cap = thrown to the ground as a challenge to combat.(1883m1)

$H Gagi.

A Median p= rince, the chief of the Saki. See Sa= rati and Paraza. (1876c1)

$H Gahal.

The father of Suzub, a brave Babylonian rebel. See= Suzub. (1876c1)

$H Gah-anbar.

Gah-anbar= . "Gatherin= g of Time." In Zendic mythology the name of the first period= of creation, in which Ahuramazda created the hea= vens. (1876c1)

$H Gah-eiathrem.=

In Zendic myth= ology the name of the fourth period of creation, that of the trees and plants. (1876c1)

$H Gah-hamespthmedem.

The name of the sixth and last of the Zendic periods of creation, in which Ahuramazda created man. (1876c1)

$H Gah-mediareh.=

The name of the fifth Zendic period of creation, that of the animal world. (1876c1)<= /p>

$H Gah-mediosherem.

In Zendic myth= ology the name of the second period, in which Ahuramazda continued the work of creation. See Gah-anbar. (1876c1)

$H Gah-peteshem.=

In Zendic myth= ology the name of the third period of creation, in which A= huramazda created the earth. (1876c1)

$H Gahupani.

A petty kingdom in = Arabia, which was ravaged for the first time and its king Ni= kharu put to death by Esarhaddon. (1876c1)

$H Gaku.

A Japanese term deno= ting a picture stretched and held in a metal or wooden frame. It is thus quite distinct in character from the kakémono (q.v.).(1891a1)

$H Gal.

Gal. "The Great." The astronomical= name of the deity Marduk as the planet Mercury in = the month Sebat. (1876c1)

$H Galages. Old English

O.E. (modern, goloshes). = Clogs fastened with latchets.(1883m1)

$H Galaxia.

Galaxia Gr. (= '"8V>4"[=3DGalaxia]). Fest= ivals in honour of Apollo, who was surnamed Galaxios; they were so ca= lled because the principal offering consisted of a barley cake cooked with mil= k ((V8"[=3Dgala]).(1883m1)

$H Galaxy.

Galaxy (Gr. (= (V8"[=3Dgala], milk). In Astronomy, the Milky Way. = It passes between Sagittarius and Gemini, dividing the sphere into two parts.(1883m1)

$H Galbanum. Costume

Galbanum R. (galbus, yellow). A yellow garment worn by women; men who adopted this kind of dre= ss were looked upon as foppish and effeminate.(1883m1)

$H Galbe.

Fr. The general cont= our or outline of any member of architecture; in especial, the shaft of a column. (See CONTRACTURA.) It also denotes the lines of a vessel, console, balust= er, &c.(1883m1)

$H Galea.

R. A helmet; especia= lly one of skin or leather, in contradistinction to CASSIS, which denoted a metal helmet.(1883m1)

A Latin term denotin= g any kind of helmet. Of the two galeae engraved here, the one has a ridge and a plume = and somewhat resembles that worn by centurions. The other, which is smaller in size and less pretentious in style, is of the pattern worn by the ordinary Roman soldier. ILLUS. galea(1891a1)

GALEA. (Lat.) A light casque or helmet worn by the Roman so= ldiers. *

* = See cuts, pp. 43, 87, 129. (1855f1)

Page 43: &nbs= p; Page 87: &nbs= p; Page 129:

$H Galeated.

In Heraldry, wearing= a helmet.(1883m1)

A word used of an an= cient statue of deity or hero when it wears upon its head a galea or helmet.(1891a1)

GALEATED. = Wearing a helmet (galea). This term is generally used, in catalogues of works of Art, &c., when describing antique figures of Minerva, Mars, &c., whose heads are thus protected= . (1855f1)

$H Galeola.

R. A very deep vesse= l in the shape of a helmet. It was used for hold holding pure wine, and was a kind= of ACRATOPHORUM (q.v.).(1883m1)

$H Galerus, Galerum.

Galerus, Galerum. R.= A peasant's cap made of fur, and thence a wig. I= t was a round leather cap, ending in a point, originally peculiar to the priesthood.(1883m1)

GALERUS. (= Lat.) A fur cap, closely fitting= to the head, worn by country people in ancient Rome; hence the name was applied to a= wig also. (1855f1)

$H Galgal.

Celt. A Celtic or me= galithic monument, more commonly called TUMULUS.(1883m1)

Celtic monuments whi= ch present the appearance of artificial hillocks of conical or pyramidal for= m. Their Latin name is tumulus (q.v.).(1891a1)

$H Galilee. Architecture

(Arch.) The name Galilee was given to a large porch or small chapel placed at the entrance of a church. It seems to have been the part of a church which women were allowed to enter. The following is said to be the origin of the term. A woman having applied to see a monk, was told, "= ;He goeth before thee into Galil= ee, there thou shalt see him," the western p= orch at the same time being pointed out to her. At Ely and Durham the Galilee is at the west of the nave= , and that at the latter cathedral is perhaps the most beautiful specimen of la= te or transitional Norman in existence.(1891a1)

$H Galiot or Galliot.

Galiot, Galliot. (di= min. of galère<= /span>). A ship moved by both sails and oars.(1883m1)

$H Gall.

A bitter fluid secre= ted in the gall‑bladder of animals. Ox‑gall after being clarified is mixed with the pigments used in water‑colour painting and makes them flow readily on the paper. Ox‑gall is also = used to set or render ineffaceable pencil and crayon drawings.(1891a1)

(A.S. gealla). In an animal, a = bitter yellowish‑green fluid secreted by the gall‑bladder. Ox‑= gall, clarified by boiling with animal charcoal and filtering, is used in water= ‑colour and in ivory painting to make the colours spread more evenly upon the paper, ivory, &c.: mixed with gum‑arabic it thick= ens, and fixes the colours. A coating of it sets black‑lead or crayon drawings. This word is also applied to anything exceedingly bitter, especially to the bitter potion which it was customary among the Jews to = give to persons suffering death under sentence of the law, for the purpose of rendering them less sensible to pain. Ð>@H :,J P@8H[=3Doxos meta choles], "vinegar to drink mingled with gall.&= quot; (Matt. xxvii. 34.)(1883m1)

GALL. The gall of the ox is used in water-= colour painting, mixed with the pigments, to make t= hem flow freely upon paper which has a greasiness of surface. To fit it for this purpose, the gall is strained and exposed to a gentle heat until nearly solidified; it is then of a dark olive-brown colour<= /span>, scarcely fit to mix with the pure blue or red pigments. Colourless ox-gall should be prepared by boiling the crude gall with animal charcoal, and filtering the liquid. *=

*<= /span> The Society of = Arts awarded a prize for a colourless ox-gall, whi= ch was prepared by adding alum and common salt to two separate portions of crude gall, and afterwards mixing them. Such an empirical compound holding these salts in solution must be quite incompatible in mixture with the more delicate vegetable pigments.

"Clarified ox-gall combines readily with colouring matte= rs or pigments, and gives them solidity, either by being mixed with or passed o= ver them upon paper. It increases the brilliancy and durability of ultramarin= e, carmine, green, and in general all delicate colours<= /span>, whilst it contributes to make them spread more evenly upon the paper, ivo= ry, &c. When mixed with gum-arabic, it thicke= ns the colours, without communicating to them a disa= greeable glistering appearance; it prevents the gum from cracking, and fixes the <= span class=3DSpellE>colours so well, that others may be applied over th= em without degradation. Along with lamp-black and gum, it forms a good imita= tion of China ink. When a coat of ox-gall is put upon drawings made with black-lead or crayons, the lines can no longer be effaced, but may be painted over safe= ly with a variety of colours previously mixed up= with the same ox-gall.

"Miniature painters find a great advantage in employing it. By passing it over ivory= , it removes completely the unctuous matter from its surface; and when ground = with the colours, it makes them spread with the gr= eatest ease, and renders them fast. It serves also for transparencies; it is fir= st passed over the varnished or oiled paper, and is allowed to dry; the colours mixed with the gall are then applied, and c= annot afterwards be removed by any means." †

&#= 8224; Dr. Ure's Dicti= onary of Arts, Manufactures, &c.(1855f1)

$H Gallamta-uddua. "He w= ho goes forth in Strength."

A Chaldean name of the deity Nergal or Allamu. (1876= c1)

$H Gal= le.

(Tours de), Celt. A name applied to ce= rtain ancient monuments in France, built by the Gauls.(1883m1)=

$H Gallebardine or Gaba= rdine. [See Gabardine]

$H Galleon.

(Sp. galeon). A large Spanish = ship, formerly used in trading to America as a war vessel.(1883m1)

$H Gallery.

Gallery. Gen. A cove= red place much longer than it is wide. In Christian archaeology it is a kind = of tribune situated above the side aisles, and having bays over the nave; it= is also called TRIFORIUM (q.v.)(1883m1)

GALLERY. T= he passage which unites rooms placed at opposite ends of a building. As the walls were sometimes hung with pictures, and richly decorated, these corridors became picture-galleries, and the original object of their erec= tion became a secondary one; at last, the term GALLERY was applied to principal halls and rooms, when they were not merely decorated with pictures, but dedicated to chosen works of Art; hence our term PICTURE-GALLERIES. The establishment of modern galleries seems to have originated at Florence; and, a= ccording to this custom, altar-tablets and pictures are assembled together, instea= d of being distributed about the house. To such galleries we owe the preservat= ion of many works of Art, and they have become establishments for the study of Art as well as for its enjoyment. The ancients had similar collections, a= s we learn from that of Verres, as described by Cicero, in which was placed st= atues in marble and bronze; a splendid collection of vases, patera, &c., in gold and silver, decorated with engraved gems and precious stones; as wel= l as a collection of pictures; showing how completely it resembled the more mo= dern galleries of Art, constructed by nobles of taste upon the revival of lear= ning in Europe during the middle ages. (1855f1)

Gallery. (Arch.) A h= all of large dimensions, the length of which is always at least twice its width.= The term was originally only applied to the long corridors which united two portions of a building. Such corridors in large houses were often decorat= ed with pictures, and so any room in which pictures were hung came to be ter= med a gallery. Hence public buildings which are devoted entirely to the displ= ay of works of art are called galleries. In theatrical architecture the balconies which run round the top of the auditorium are called galleries.= In Gothic architecture the term gallery has a special signification. It deno= tes the division into stories of the interior or exterior façade of a church. These divisions are marked by balustrades or arcades. Some Gothic galleries are as wide as the aisles. In the 13th, 14th, and 15th centuries they are sometimes nothing more than passages in the interior of the wall= s. ILLUS. gallery(1891a1)

--- $H Gallery, Whispering.

(Arch.) A vaulted ga= llery which is so contrived acoustically that the faintest whisper can be heard from one end of it to the other, being at the same time imperceptible in = the middle.(1891a1)

$H Gallery-Picture.

GALLERY-PI= CTURE. A painting with figures, either shown the size of life, or else a larger, o= r heroic size, consequently too la= rge for the walls of an ordinary room, and only fitted for one constructed big enough for its display. Animal paintings on the same scale, and landscapes more than five feet in width, would be called gallery-pictures. (1855f1)

$H Galley.

Galley. A long ship = with a single deck, propelled either with oars or sails. The galley was the form of ship universally used in ancient times, and representations of it are often found on bas‑reliefs, &c. T= he galley survived in Southern Europe until the eighteenth century, but is obsolete now. It occurs as a charge in heraldry under the name lymphad. ILLUS. galley(1891a1)

GALLEY. A = naval vessel of large size, long and narrow, usually propelled by oars, with the addit= ion of sails occasionally. Most of the ships employed by the ancients may be termed galleys, and, according to the number of banks of rowers, were biremes when with two banks, triremes when with three, and so= on, up to as many as forty; but those with more than four or five banks must = be regarded as curiosities. Galleys were in use in the Mediterranean until the close of the eighteenth century, for coast navigation, the larg= est of which were about 160 feet long and 30 wide, with 52 oars. Among the Venetiana there was in use a kind of large galley, with a very lofty poop, called galeazza. The state ga= lley of the Doges was termed BUCENTAUR. FIGURE(1855f1)

Galley (Icelandic galleyda). A one‑decked vessel, navigated with sails and = oars, in Heraldry called a LYMPHAD (q.v.). The prow of a galley (Fig. 344), one= of the devices adopted by Cardinal Richelieu, may still be seen among the architectural decorations of his palace.

Fig. 344. Device of Cardinal Richelieu, from the Galerie d'Orléans, Palais Royal.(1883m1)

$H Galli.

The ancient name of the priests of Phrygia. (1876c1)

$H Galloon.

(Sp. galon). A narrow kind of = lace made of silk woven with cotton, gold, or silver; or of silk only.(1883m1)=

(Arch.) A system of = ornament consisting of a row of pearls applied to a band, or of a band pierced and covered with striae. In either case, as a rule, it projects but little. ILLUS. galoon(1891a1)

$H Gallo‑Roman.

A term applied in archaeology to objects belonging= to that period of history, during which the Gauls were placed under the Roman yoke.(1891a1)

$H Gallow-balk.<= span style=3D'mso-spacerun:yes'> O.E. (See GALOWS.) (1883m1)

$H Gall-Stone.

GALL-STONE= . A concretion found in the gall-bladder of the ox, which is employed as a pigment in water-colour painting. It yields a fine golden-yellow colour, = similar to Indian yellow. It is not permanent.(1855f1)

$H Gallu.

The Assyrian name of the class of evil spi= rits which were called by the Accadians Telal, which see. (1876c1)

$H Gally-gascoynes. Old English

O.E. Broad loose bre= eches; 16th century.

"His galligaski= ns were of corduroy, And garters he had none." (The Weary Knife‑grinder.)(1883m1)

$H Galows. Old English

O.E. An iron bar fas= tened inside an open chimney, from which the reeking‑hook was hung, for suspending pots and vessels over the fire.(1883m1)

$H Galvanography.

Galvanography. (See ELECTROGRAPHY, ELECTROTYPE.) (18= 83m1)

Galvanography. Under the term galvanogr= aphy or galvanoplastic art are included all those processes by which statues, bas‑reliefs, and engraved blocks or pla= tes may be exactly reproduced. A hollow mould in wax is taken of the object t= o be copied; the wax mould is then placed in a bath, and an electric current passing through it, a metal deposit is formed upon the wax. Thus a facsim= ile is obtained, the thickness and solidity of which are proportional to the length of time the object is permitted to remain in the bath. The process= of covering metal objects with a thin coat of another metal is an important branch of galvanography. It is thus that copp= er‑plates, from which an engraving is to be printed, are covered with a film of stee= l. On the art of engraving indeed galvanography = has exerted a most powerful influence. [Electrotype.](1891a1)

GALVANOGRAPHY (ELECTROGRAPHY). This is one= of the most beautiful and successful inventions of modern times, as by its m= eans plastic objects, e.g., wood, = stone, coins, plaister-casts, &c., and copper pl= ates when engraved, may be exactly copied in copper, and bronzed or gilt. The invention is especially valuable for copper-plate engraving, as by its me= ans any number of duplicates of the original plate may be obtained. GALVANOGR= APHY, after many experiments, has produced works of Art far surpassing the expectations at first entertained, and the uses to which it may be applie= d are multifarious; for since the first galvanic plate was taken, it has been u= sed in all branches of engraving, having been found to unite all the known methods of the graver and etching-needle, aquatinta<= /span>, scraper, roulette work, &c., and, moreover, is very easy of execution= . *

* GALVANOPLASTIC Ar= t has reached its highest point in the institution of F. von Hackewitz, at Berlin, an establishment that has done much to advance industrial purposes as well as works of Art. Several reliefs in different metals have been executed ther= e, and latterly colossal sculptures have been produced which merit the atten= tion of all friends of Art; among these is a head of Juno, from a cast by Rauc= h, which (without any chiselling) is of surprising purity of form. Thorwaldsen's statue of Christ was cast in order to be electrotyped, and the metal gates for the = castle of Wittenberg, on which are to be n= inety-five theses of Luther, were also made at this establishment. The copper of whi= ch these gates are made is coated with a bronze on which the action of the atmosph= ere produces beautifully soft shades of colour. These works show that GALVANOGRAPHY will be a formidable rival to bronze-casting. The productio= ns of Mr. H. Eilkington, of Birmingham, and Dr. Braun, of Rome, are also b= eautiful examples of the reproductive power of the electrotype processes.(1855f1)<= /span>