$H Gebal.

Gebal. "Tomb of = the God." The second capital of the Sinites of Phenicia, who afterwards deemed it their most impor= tant city. It was said to contain the sepulchre of Tammuz, the Adonis of the Greeks. See Tamzi. (1876c1)

&n= bsp;

$H Gebeleizes.

Another name of the great deity of the Getae, called Zalmoxis,= which see. (1876c1)

&n= bsp;

$H Gedjemugashurin.

In Hindu mythology a great giant who consp= ired against the gods, and who was overpowered by Ganesa<= /span>, the son of Siva. (1876c1)

&n= bsp;

$H Gef. Egypt

Gef. "Corn.&qu= ot; The name o= f a mystical pool near the heavenly Nile. = It is figured in the vignette to the CXth chapter o= f the Ritual of the Dead. (1876c1)

$H Gefion. Scandinavia<= /st1:place>

In Scandinavian mythology a virgin goddess= , the guardian of the youth of virgins.(1876c1)

&n= bsp;

$H Gehenna.

Gehen= na (Heb. Ge‑hin‑nom, i.e. the valley of Hinnom). In this place, on the north of Jerusalem= below Mount <= st1:PlaceName w:st=3D"on">Zion, is a place called Tophet, where children were sacrificed to Moloch. K= ing Josiah made it the common receptacle for rubbish and carcas= es, and a fire was kept constantly burning there; hence the Jews used this te= rm to signify "hell." (Compare HADES.)(1883m1)

$H Gelatine.

A colourless substance extracted from bones and membranous tissues, insoluble in water= but liquefying under the action of heat. Gelatine= plays a most important part in the modern processes, by means of which a photog= raph is transformed to a plate or clic= hé, from which engravings may be printed. Gelatine is also used by sculptors to obtain a large number of proofs from the same model or to obtain the imprint of a bust, bas‑relief, or other obje= ct. Gelatine mouldings poss= ess the advantage of being easily detachable, on account of the elasticity of the material.(1891a1)

$H Gelatino‑bromi= de. Photography

(Phot.) A process by means of which sensitive glass plates may be prepared in adv= ance and kept in the dark for an indefinite period, both before and after being exposed in the camera. Plates prepared by the gelati= no‑bromide process are more sensitive than collodion pla= tes; they are more rapidly affected by the light, and, more than this, they do= not require, as collodion plates do, to be develo= ped immediately in order to bring to light the image obtained.(1891a1)

$H Gem.

Gems. Precious stones, especia= lly when carved. (See CAMEOS.)(1883m1)

Gem. A generic term = for all kinds of precious stones. It is especially used in the sense of an engrav= ed gem.(1891a1)

GEM. A pre= cious stone or jewel of any kind. An engraved stone. A work of Art of a superior nature. (1855f1)=

--- $H Gem Engraving.

Glyptics. The art of engraving on precious stones.(1883m1)

Gem Engraving. [See Glyptics.] (1891a1)

Glyptics. The art of= cutting designs upon precious stones, either incised or in relief. The masterpiec= es of this art were produced by the Greeks, and fine specimens of gem‑= engraving are among the most valuable relics of ancient art that have come down to = us. The art was revived by the Italians of the 16th century, but it can scarc= ely be said to be practised with any measure of s= uccess at the present time.(1891a1)

GEM-ENGRAV= ING. The Art of incising a design upon a precious stone, or of sculpting it in rel= ief; both Arts originated with the nations of antiquity, and were practised by them with great success. Cornelian was their favourite for general use, b= ut they also worked on onyx, calcedony, jasper, and blood-stone. They freque= ntly used the various tints of the stone to heighten the effect of their work,= and produce relief. The ancients = have preserved the names of many of the early Greek gem-engravers who have nev= er been surpassed for ability. One of their most celebrated works is the sardonyx of three strata, which formed part of the cabinet of gems of the Empress Josephine, and which represents the busts of Ptolemy Philadelphus= (B.C. 285 to 268) and his Queen Arsinoe. Its shape is an obtuse oval measuring = 6 1/4 inches by 5. Another, with the same heads, is preserved in the Imperial C= abinet at Vienna, measuring 4 1/2 inches each way. But the largest and most important of th= ese antique works is the Apotheosis of Augustus preserved in the Royal Cabine= t of France, which measures 8 inches by 9, and represents more than twenty fig= ures of men and deities, a wonderful monument of patient labour and artistic power. So fond were the ancients of these costly and beautiful works, that the Emperor Heliogabalus is recorded to have covered his shoes with engra= ved gems. They were also used to adorn coffers, and other luxurious articles = of furniture, as well as drinking vessels, patera, &c. (1855f1)

$H Gemellar.

R. (gemellus, twin). A case f= or holding oil; it was called gemellar from the fact of its being divided into two compartments.(1883m1)

$H Gemelled. Architect= ure

Arch. Double; thus a= gemelled bay is one divided into two par= ts; gemelled arches, those which are joined = two and two.(1883m1)

$H Gemelles. Her. In pairs. (See BARS‑GEMELLES= .) (1883m1)

$H Gemmae.

Lat. (1) Precious stones, esp. cut or engraved.

(2) Drinking‑v= essels or objects made of precious stones.

(3) Pearls.

(4) The eyes of a pe= acock's tail. The original meaning of the word is a bud, eye, or gem on a plant; anything swelling and bright.(1883m1)

$H Gemoniae or Gemoniae Scales.

Gemoniae, or Gemoniae Scales R. (i.e. steps of sighs). Steps leading to the prison in the forum, = on the stairs of which the corpses of criminals were exposed for several days.(1883m1)

$H Genea.

Genus. And Genea. The first earthly children, the son and daughter of AEon and Pro= togonos. They were the first to worship the deity whom they venerated in the sun. Their children were Phos, Pur, and Phlox, which see. (1876c1)

$H Genealogical Tree. Heraldry

(Her.) This is a conventional tree carrying at the intersection of its branches shields on which are blazoned the arms of the various members of a family, starting = from the trunk and working upwards with the branches. ILLUS. genealog(1891a1)

$H Genet. Heraldry

Her. A spotted anima= l, something like a marten.(1883m1)

$H Genethliaci.<= span style=3D'mso-spacerun:yes'>

Genethliaci Gr. and = R. ((,<X280[=3Dgenethle], birt= h). Astrologers who cast "nativi= ties."(1883m1)

$H Geneviève, St= .

GENEVIEV= E, ST. (DUCHESS OF BRABANT), who being falsely suspe= cted of incontinency by her husband, was driven with her child to the wilds. S= he found shelter in a cave, and was supported by a hind until her innocence = was proved. This incident is generally chosen by painters. (1855f1)

St. Geneviève w= as a peasant girl who was born at Nanterre in 421, and from her early childhood dedicated herself to Christ. Many fabulous stories are related of her. Her vigils were frequently disturbed= by demons, who extinguished the tapers which she piously kept burning, and w= hich were immediately relit at her prayer. When Attila, the Hun, lay siege to Paris, Geneviève entreated the people not to = flee and so saved the city. Henceforth she was held in great honour, and when she died at an advanced age she was buried by the side of Clovis and Clotilde. She is most frequently represented as the peasant girl of Nanterre, with her flock= of sheep round her, but sometimes she appears as the patroness of Paris, wearing = a veil and holding a book and a taper, while a demon with the bellows looks impi= shly over her shoulder. Representations of her are only found in French art.(1891a1)

GENEVIEV= E, ST. The patroness of Paris, was born at Nanterre, four m= iles from that city, in 422, and died in 512. In Mediaeval Art she is generally represented with a candle in her hand; this an angel lights, or a devil tries to extinguish, in allusion to her legend, which tells us that she was much persecuted on dark nights by the "foul fiend," who blew out her candle as she went to prayers; b= ut that it was always miraculously re-lighted. She is also depicted restorin= g sight to a female, either representing her mother, who ill-treated her in early life, because of her sanctity, and who, after twenty months' blindness, w= as recovered by the saint; or else a woman who stole her shoes, and was stru= ck with blindness for the theft, until she restored them to the saint. She is sometimes represented bearing keys in her hand, in allusion to her miracu= lous liberation of prisoners condemned to death.(1855f1)

$H Genius. 1. Art; 2. Spirit

GENIUS. Th= at great gift of originality in Art vouchsafed to few; which enables the professor rather to give new laws to its practice, than to follow only the old ones= . It founds new schools by its powers of constructive ability.(1855f1)<= span style=3D'mso-no-proof:no'>

Genius R. (geno, to beget). The Romans believed the existence of a good genius, or guardian&#= 8209;angel, born with every mortal, and which died at the same time with him. Genius loci was= the name given to the guardian spirit of a place. [See JUNONES, LARES, PENATES, &c. The superstition has many forms in Christian as well as = in pagan art.](1883m1)

Genius. A kind of gu= ardian angel or good spirit called a gen= ius was supposed by the Romans to be called into being at the birth of every mortal. In artistic representations the genius appears as a winged boy wearing a chlamys. Not only mortals but place= s too had their guardian angel. This was called a genius loci, and was represented by a serpent, as in our cut. ILLUS. genius(1891a1)

GENIUS (in Mythology). Among the Romans,= there prevailed a belief that every mortal was, from his birth, accompanied by a guardian angel or good GENIUS, who watched over his safety, directed his actions through life, and, after death, hovered over his grave. The Guard= ian Spirit of a person (a purely Italian idea, which in modern language has b= een wrongly transferred to Grecian Art), is generally represented as a veiled figure in a toga, holding a patera and cornucopia, or as a beautiful yout= h, nude or nearly so, with the wings of a bird on his shoulders. The guardian spirits of the female sex, JUNONES, are represented as young maidens with= the wings of a butterfly or a moth, and draped. The Romans also gave a GENIUS= to edifices, towns, armies, and kingdoms. The LARES or tutelary spirits were= by the Romans supposed to be the souls of deceased persons, who watched over= the welfare of the family both at home and abroad, and over every resort of m= an - fields, roads, streets, and buildings. In works of Art they are generally represented as youths clothed in a short tunic crowned with laurel, and holding drinking-horns above their head. The PENATES were household gods, believed to be the authors= of all the good fortune of a family or community. Among the divinities menti= oned as objects of this kind of worship are Jupiter, Apollo, Neptune, Juno, Minerva, &c., and every family set up the figure of one or more= of them in the tablinum or inner= most part of the house. They are variously represented in works of Art. The Ro= man GENIUS of a place was depicted as a serpent devouring fruits, which lay before it; there are, however, many exceptions to these rules. We find GE= NII as serpents in pictures at Herculaneum a= nd Pompeii, also on= Conterniati. The genius ROMA appears in various forms, and we find him on the coins of= the Cornelii, with a bearded head and wearing a diadem. Our engraving represe= nts the sacred serpent issuing from the basket to devour the fruit-offering in the Temple, from one of the Greek coins known as Cistophori. The modern world compris= es, under the term GENII, the angels or messengers of heaven, and those emblematical figures, which, as everything was personified in ancient Art, are regarded as the deification of ideas. The most common Christian GENII= are the patron angel of childhood and of youth, the angel of baptism, those of poverty and mercy, of religion and virtue, and the GENII of the three Christian graces, FAITH, HOPE, and CHARITY. There are other personificati= ons, not wholly Christian, but employed by the ancients, such as the genius of unity (Concordia), of friends= hip (Amicitia), of peace (Pax), of justice (Justitia), of fortune (Fortuna), of happiness (Felicitas), of = war (Bellona), of love (Cupido), of power (Potentia), of riches (Opulentia), of fame and glory (Fama), of sleep (Hypnos), of victory (= Victoria), of bravery (Virtus), of death= (Thanatos), of truth (Fides), of wisdom (Sapientia), of discord (Discordia), also the genii of agriculture, science, art, &c. In modern times we find the GENII of countries often personified: the greatest work of this kind is the Genius= of Bavaris, a bronze female statue of colossal size by Schwanthaler, recently completed and placed in front of the Walhalla near Munich. Modern representations of River Gods are only to be regarded as GENII when they are executed in the romantic and not the antique style. (1855f1) FIGURE<= /span>

$H Gen= oa Lace.

Mention is made of G= enoa Lace as early as the 15th century. Genoa= was as celebrated for its pillow lace as Venice for its needle‑made. The characteristic of this lace was its design= , a kind of barleycorn‑shaped pattern, radiating into rosettes from a centre. It was particularly adapted for the large turnover collar of Louis XIII., and was produced by plaiting, and made entirely on the pillow.

Fig. 351. Genoa Point Lace ‑ Pillo= w‑made.(1883m1)

$H Genouillères o= r Genouillières.

Genouillères. Knee̴= 9;pieces of leather or metal, first worn in the 13th century. They formed a sort of connection between the thigh‑piece and the greave.(1891a1)

Genouillières, Fr. (1) Steel coverings for the knees. From the 13th century. They were often richly ornamented. (2) In Fortifi= cation, the sill of the embrasure.(1883m1)

GENOUILLI&= Egrave;RES. (Fr.) Metal caps for covering= the knees of an armed man. They first appeared in the thirteenth century as s= mall circular metal plates, when chain armour covered the leg, and led by degr= ees to the adoption of greaves and shin-pieces, and ultimately to entire plate-a= rmour. They were sometimes decorated with incised and gilt ornaments, and took, = in the fifteenth century, a variety of fanciful forms, as may be seen on monumental effigies and brasses. (1855f1)

$H Genre‑painting.

Genre‑painting. Under this term may be classed all those pictures, the subjects of which are ta= ken from real life, domestic history, or the field of fanciful anecdote, in opposition to grand historical and religious scenes. Genre always implies= a faithful imitation of nature and the reproductions of actual types. At the same time it does not exclude either poetry or imagination. Genre‑p= ainting has been practised from the very earliest tim= es. The finest genre pictures in existence are those painted by the artists o= f Holland and the Netherlands. This branch of painting, however, has been cultivated by artists of every school, and British painters have shown a distinct preference for it ever since the t= ime of Hogarth.(1891a1)

GENRE-PAIN= TING. (Fr.) Pictures of life and manner= s, which, for want of a definite character, are classed together as of a cer= tain genre or kind. Under this title are comprised the grave episodes of li= fe, which are to history what a single scene is to a drama, or a lyric to an = epic poem. Also comic scenes of every kind; - comic subject is seldom placed in the highest category of Art, because it is the nature of comedy to overst= ep the strict line of beauty, and to become caricature. The principal GENRE = pictures consist of scenes of every-day life, and may be classified. Those of the = Netherlands are the best, and deserve to live; though far from the ideal of Art, they show a cleverness of execution and lead to higher thoughts.*

*<= /span> The highest kin= d of genre-painting may be studied in= the works of Hogarth, which elevates ordinary life and manners into a high sc= hool of morality, and makes his pictures great lessons in great principles. He= was well and truly styled by Garrick, a -

"---- Great painter of mankind, =

Who reached the noblest point of Art;

Whose pictured morals charm the mind,

And through the eye= correct the heart."

The anecdo= tical and trifling GENRE pictures, on the contrary, are very reprehensible, although the most popular among the vulgar-minded patrons of Art. Another kind are the low attempts at colouring called costume or portrait GENRE pictures, which are merely studies. In taking for its subject the events = of daily life, GENRE-PAINTING (unless the subject is eminently suited to the idea) avoids religious themes as high and lasting, as well as historical subjects, which, though transitory, ought never to appear so. A view of an open house, into which the sun is shining, a peasant lighting his pipe, -= all the passing events of life, its characters and aims, offer fitting subjec= ts for GENRE-PAINTING. Pure nature, true humanity, national character, as revealed by domestic manners, &c., form the circle of true GENRE-PAINTING, the boundary being more clearly defined than is the case = in historical or religious Art. The distinction between HISTORY and GENRE-PAINTING cannot be too clearly drawn. Transitions from one to the o= ther are admissible, and such pictures belong to the happiest productions of A= rt; and there are also circumstances under which the advantages of both styles maybe united. We meet with specimens of GENRE-PAINTING among the ancients= . As the character of ancient worship changed, a freer space was offered to Ar= t, which, by degrees, overstepped the ideal circle of the Mythic-normal, withdrew the mystic veil with which the Saga covered everything, and, revealing nature, assumed an individual character, from which a genre-like style of Art arose, tending towards the Mythic. This style was, however, = very different to what we now call GENRE-PAINTING, which may be explained by t= he plastic character pervading Art. Still we see by the mural paintings at <= st1:City w:st=3D"on">Herculaneum and Pompeii, that in later Roman Art there were coloured pictures of the GENRE kind. T= hese were certainly poor daubs, but they prove, nevertheless, that mere manual artists turned to domestic painting. The introduction of a new religion, = in the service of which Art was enrolled, delayed the progress of life-painting for more than a th= ousand years; but when that which was unnatural in Christian Art gave place to a free Germanic spirit, GENRE-PAINTING arose refreshed. This spirit inclini= ng towards the poetry of real life, employed GENRE-PAINTING for ecclesiastic= al purposes, but so many pleasing effects were developed, that religion was = soon neglected and cast aside. The carpenter's workshop became popular, althou= gh it was not that of Joseph; the landscape was beautiful, even without the procession of the three kings; and the nosegay rivetted the eye, although= not placed in the oratory of the Virgin. (1855f1)

$H Genre Pictures.

Those representing s= cenes of every‑day life and manners.(1883m1)

$H Genre‑sculpture.

Genre‑sculpture. Genre‑sculpture is far more rare than genre‑painting. Br= onze and marble do not easily lend themselves to the treatment of familiar subjects. There are, it is true, some specimens in existence of Greek sculpture which may be said to belong to the branch of art called genre. Such are the group of boys playing the knuckle‑bones called the Astragalizontes [Astragolus], and the figure of a boy holding a goos= e, which we so often see in museums. But for the most part works of genre= 209;sculpture are of small dimensions and in a less durable material than marble or bro= nze, such as terra‑cotta. The genre‑sculpture of modern times is f= or the most part vulgar and devoid of interest.(1891a1)

GENRE-SCUL= PTURE. We have evidences of this branch of Art having been attempted by the ancients. After the time of Alexander the Great, religion, and consequent= ly Art, underwent a great change; there was more room for individuality, and= a style of Art was developed which corresponded to the wants of the age, and which produced many works of a ge= nre character. We know that genre-pai= nting was very popular during the last ages of Grecian Art, from the descriptio= ns extant of the kitchen-scenes, &c., painted by Pyreicos, who finished these little pictures so exquisitely, that they fetched a much higher pri= ce than large paintings by other artists. There are several specimens of GENRE-SCULPTURE extant, the most remarkable of which is the Venus Callipygos, in the Museum = at Naples. We find = this style very often employed in Etruscan Art; there are some specimens of it= in the collection of bronzes, belonging to Mr. Hertz, in London - viz., a circular vase, the h= andle of which is formed by the figures of two struggling gladiators; a handle formed by two jugglers; also a rare bronze, formed of an Etruscan slave, = kneeling, whose physiognomy betrays his descent; he is employed in cleaning a shoe,= and holds a sponge in one hand. We meet with GENRE-SCULPTURE among the biblic= al and legendary subjects in the middle ages; and it was carried on in the Germanic period, though only in small works, and those of a secular natur= e - viz., ivory carvings, and illuminations in books. In the Museum at Berlin is some= ivory work in the true romantic genre style of the age of chivalry and minstrelsy. One piece represents a tournament;= two knights in armour are rushing at one another; behind them are trumpeters.= There is a balcony above with spectators, evidently much interested in the comb= at; and a lady in the centre holds the wreath of victory. To the sixteenth centur= y belongs a beautiful genre-bronze on a fountain, behind the Frauenkirche at Nuremberg, which was moulded and cast by P. Labenwolf, the pupil of Peter Vischer. I= t is the figure of a goose-seller,= bearing under each arm a goose, from the mouth of which the water flows. Many cri= tics affect to treat such works slightingly, but whoever looks at them with an unprejudiced eye, will be delighted at the union of nature with grandeur = of conception, and will reasonably expect to see such subjects chosen for the highest efforts of the artist. (1855f1)

$H Genus.= And Genea. [See Genea - Editor]

$H Geodes.

In Mineralogy, hollo= w lumps of chalcedony found deposited in the cavities of flints, formed by the chemical action of water.(1883m1)

$H Geometrical Drawing.

The science of drawi= ng geometrical figures with the help of certain instruments, such as compass= es, squares, and protractors. A course of geometrical drawing is a preliminary step in the education of the artist.(1891a1)

$H Geometrical Tracery. Architecture

(Arch.) A term appli= ed by Rickman to tracery belonging to the decorated period, in which the figures composing it ‑circles, trefoils, quatrefoils, &c.‑ do not regularly join each other but touch only at points. It is opposed to flow= ing tracery (q.v.).(1891a1)

$H George.

A gold noble of the = time of Henry VIII. (Fig. 352.) Fig. 352. "George" Gold Nobl= e, Henry VIII.(1883m1)

$H George, St. o= r Saint.

George, Saint, Her. = The patron saint of England. His red cross on a silver field first appears in English heraldry in the = 14th century. (See Fig. 349.)(1883m1)

George, St. The stor= y of St. George, the patron saint of England, is purely mythical. He is generally represented on horseback bending over= a dragon, whom he has pierced with a sword. Some= times a maiden appears at his side in accordance with the legend that he rescued the daughter of the king of Egypt from a dragon. It is thus the subject of St. George is treated in a well&= #8209;known picture by Raphael. The banner of St. George, a red cross on a silver gro= und, is the banner of E= ngland. ILLUS. georgest(1891a1)

$H GEORGE, ST. The patron saint of England, whose banner is that of the country.* He is generally represented as a warrior in complete armour, mounted on horseback, piercing a dragon with a spear; and sometimes stand= ing upon the prostrate dragon, which he strikes at with his sword, or transfi= xes with his spear. Sometimes he is represented with a lady praying beside hi= m, or leading the dragon, in allusion to his legendary history, which declar= es that he freed Egypt from a monstrous dragon, to whom the king's daughter = was allotted as a meal; but whom he conquered and rendered tame, getting the lady to l= ead the beast into the city, and promising the people to destroy it, if they would believe and be baptized, which they are reported to have done to the number of 15,000, including king and court. There is no saint whose histo= ry is more apocryphal than England's St. George. Even Butler, the author of the most voluminous Lives of the Saints, thinks the ordinary representations of the saint bestriding the dragon "no more than an emblematical figure, purporti= ng that by his faith and Christian fortitude he conquered the devil, called = the dragon in the Apocalypse." Others incline to think that the whole st= ory is made from old representations of St. Michael contending with the devil; and the history of St. George not more faithful than that invented by Ric= hard Johnson, in the time of James I., for his Seven Champions of Christendom. As patron saint, he stands in armour, holding a lance, sometimes having a banner = with a red cross, and a palm-branch; sometimes the lance is broken, and the drag= on dead at his feet.(1855f1)

* = See cut, p. 66. (1855f1)

Cut page 66:

$H George, The. Heraldry

Her. A figure of St.= George on horseback, worn as a pendant to the collar of the Order of the Garter. (See GARTER.)(1883m1)

$H Georgic.

Georgic ((,TD(46ÎH[=3Dgeorgikos], rus= tic; from ([=3Dge], earth, and= §D(@<[=3Dergon], work). = Poems on the subject of husbandry.(1883m1)

$H Geos. Egypt

The Greek form of the Egyptian royal name = Teos, which see. (1876c1)

$H Ger-ashtaroth.

The son of Abdelim. He and his brother Muthon III. were co-suffetes or kings of Tyre. See Muthon<= /span> III. (1876c1)

$H Gerda. Scandinavia<= /st1:place>

In Scandinavian mythology the wife of the = god Freyr. (1876c1)

$H Germanians.

The sixth of the ten great Persian tribes. They were an agricultural caste. (1876c1)

$H German Silver.

An alloy of nickel, = zinc, and copper. The proportions recommended are nickel 25, zinc 25, copper 50.(1883m1)

$H Gerrha.

The name of the peculiarly worked square shields which were used by the Khitae or Hitt= ites. (1876c1)

$H Gerrhae. Persian

Persian shields made= of wicker‑work.(1883m1)

$H Gerrom. Egypt

An Egyptian city on the sea-coast between Arabia and Palestine. (1876c1)

$H Gertrude, St.

GERTRUDE, = ST., is known by the mice and rats usually surrou= nding her. At times she is represented spinning, with mice running up and down = the distaff.(1855f1)=

$H Gesture.

Gesture. A term appl= ied to the attitude of a painted or sculptured figure, to the pose of the body, = or the set of the limbs. When we say that the gesture of a figure is bad, we mean that the figure is clumsily drawn, that the limbs are not properly proportioned, that the prevailing lines are unpleasing to the eye, or that the attitude does not sufficiently suggest the action, which the artist proposed to himself to represent.(1891a1)

GESTURE. Under the article EXPRESSION, we = have indicated the part gesture plays in producing it. The interpretation of t= he proper significance of gesture is very important for the understanding of works of Art. Much of this is common to humanity, and seems to us necessa= ry; on the other hand, there are also qualities of a positive nature - that i= s, derived from the particular views and customs of the nation. Here there i= s very much indeed to be learned and guessed at, as well by the artist in studyi= ng life as by the scientific in works of Art. Even the frequently unbecoming= and obscene gestures of ridicule (sannae), in which the South was as rich in ancient as = it is in modern times, are often very important. *

* = The comparison of ancient gesticular action with that of the modern Neapolita= ns is curiously treated in a work by the Canon Jorio, entitled Mimica degli ant. investigata nel ge= stire Napolitano, 1832; and in an entertaining notice of the work, in the Dublin Review, No. 24, for July,= 1837.(1855f1)

$H Get.

The Egyptian name of the Olive fruit. (187= 6c1)

The name of the Egyptian amulet in the sha= pe of a buckle. It was usually made of red jasper. (1876c1)

$H Geta. Egypt

An Egyptian god. He was the principle of "eternity" deified. (1876c1)

$H Ghandharvas.<= span style=3D'mso-spacerun:yes'> Hindu

In Hindu mythology another name of the good spirits called also Dewetas, which see. (1876= c1)

$H Ghassanites.<= span style=3D'mso-spacerun:yes'>

Another name of the Arabian people who were more generally called Agdites, which see. (18= 76c1)

$H Ghaza-hadj.

A son of Abdshems, king of Yemen. He was more generally called Himyar, which se= e. (1876c1)

$H Ghebres. Persian

Pers. Fire‑wor= shippers.(1883m1)

$H Ghibellines.<= span style=3D'mso-spacerun:yes'>

An Italian faction, = 13th century, who supported the German Emperors against the Guelphs, who stood by the= Pope. The war‑cry of the Guelphs was taken fr= om the name of Henry the Lion, Duke of Saxony, of the house of Wölf; that of the Ghibellines from Weiblingen, a town of Würtemberg, the seat of the Hohenstauffen family, to which Conrad, Duke of Franconia, belonged. These two dukes were rivals for the imperial throne of Germany.(1883m1)

$H Ghifar.

An Amalekite t= ribe who settled in the district of Yathrib, in Arabia. (1876c1)

$H Ghoul, Ghole.= Persian

Pers. A demon who fe= d on dead bodies of men.(1883m1)

$H Ghumdan.

A royal fortress of the kingdom of Sabaea, near Sana. (1876c1)