$H Goal. (See META.) (1883m1)

$H Goat.

Goat. The = emblem of lasciviousness.(1883m1)

GOAT. This animal i= s used in Christian Art as an emblem of lust, and consequently employed by the o= ld artists to express that detestable vice. Like similar emblems, it is usua= lly placed under seats, as a mark of dishonour and abhorrence. (1855f1)

$H Gobal.=

A maritime district in South-west Arabia. = It was the Obal of Hebrew writers. S= ee also Tamna. (1876c1)

$H Gobelins.

Celebrated Royal French manufactory of tapestry, named f= rom the successors of Jean Gobelin, who brought the art to Paris in the 15th century from Rhe= ims. [See Burty, Chefs‑d'oeuvre of Industrial Art.](1883m1)

The great national factory of tapestries established in = Paris in the rei= gn of Louis XIV., and the tapestries manufactured there. Formerly both highR= 09;warp and low‑warp tapestries were made at the Gobelins, but since 1825 t= he low‑warp process has been almost entirely abandoned. The reproducti= ons in tapestry which we owe to the Gobelins have won for themselves a world&= #8209;wide celebrity. The productions of this famous factory are distinguished by the perfection of the process employed, the beauty and finish of the work, and the excellence of colouring. Every shade and tone necessary for the interpretation of picture or painted designs can be accurately rendered in hanging or carpet.(1891a1)

$H Gobony. (Her.) [= See Compony.] (1891a1)

$H Gobrya= s.

A Babylonian conspirator. See Gadatas. (1876c1)

$H Godenda. Old English

O.E. A pole‑axe, having a spike at its end; 13th century.(1883m1)

$H Goderonné, Gouderonné. Needlework

Goderonné, Gouderonné (Needlework). A flut= ed pattern of embroidery in vogue in the 16th century.(1883m1)

$H Godroon. Ornament

A system of ornament in form of oval mouldings or flutin= gs in relief, which is employed to decorate the round body of a vase or any convex surface. The name is also applied to certain projecting ornaments which are generally found in the decoration of roofs. ILLUS. godroon(189= 1a1)

$H Goffering.

The impressing by means of hot irons systems of ornament either sunk or in relief upon stuff, leather, paper, cardboard, &c.(1891a1)

$H Gog.

Probably the Hebrew form of the name of Gu= gu, or Gyges, king of = Lydia, which see. (1876c1)

$H Goim.

A people who were conquered by Budil, king= of Assyria. They were called also the Quti. (1876c1)=

$H Gold.

Gold. A pr= ecious metal used in the plastic and decorative arts. The costliest ornaments and vessels have been made of gold in all ages and in all nations; and gold h= as been especially used as the material for ecclesiastical chalices and decorations. In symbolic art gold signifies purity, dignity, and glory, a= nd in Christian paintings the nimbi = on the heads of saints are always represented as of gold.(1891a1)=

Gold. It is probable that the earliest recorded mark upon units of value was the imag= e of a sheep or an ox; hence money in Latin is called pecunia, from pecus, cattle, the original form of barbaric wealth, for which gold was the substitute. The wealth of Abraham in silver and gold, as well as in cattl= e, is mentioned in Genesis. No coins of gold or silver have been found in EGYPT or NINEVEH, although beautiful specimens of the goldsmith's art have been recovered f= rom the tombs of both countries. The HEBREWS, taught by the Egyptians, made t= heir ark, mercy‑seat, altar of incense, seven‑branched candlestick, and other golden ornaments, even in the desert of Sinai. The seven‑branched candlestick is represented in sculpture on the a= rch of Titus at Rome= . At BABYLON and NINEVEH gold is said to have been lav= ishly applied in gilding sculpture, and even walls; but it is suggested that an alloy of copper, the aurichalcum<= /i> of the Greeks, was the metal in reality used for this purpose. The heroes of= the Greek epic had golden shields and helmets; breastplates and other large pieces of golden armour are among the recent discoveries at Mycenae; at Kourioum in the isla= nd of Cyprus also gr= eat stores of golden ornaments of a very early age have been discovered. In SCYTHIAN tombs in = Russia also, about Kertch, beautiful relics of Grecian work in gold have been fo= und, showing that in the very earliest ages the skill and taste applied to this art were not less than those of later times. The gold jewellery of ancien= t India= also excelled that of modern date, but none, before or since, ever equalled the great age of GREEK art. Pausanias describes a statue of Athene, made by Pheidias, and kept in the Parthenon at Athens, of ivory and gold - chryselephant= ine ‑ delicately worked all over; and a still larger statue of Jupiter,= of the same materials. Native gold alloyed with one‑fifth silver was greatly prized by the Greek artists, who gave it the name of electrum. Examples of this elect= rum are rare; there is a vase at St. Petersburg. The ROMANS used to pay enormous pric= es for their household plate; for an example, the bowl of Pytheas, on which = were represented Ulysses and Diomed with the palladium, fetched 10,000 denarii= , or about 330l. per ounce. Few specimens of Roman art have escaped destruction. (Fig. 7.) Of the age of BYZANTINE splendour we are told that the Emperor Acadius, early in the 5th century, sat on a throne of massive gold, his c= hariot being also of gold, &c. In the 9th century the throne of Theophilus w= as overshadowed by a tree of gold, with birds in the branches, and at the fo= ot two lions all gold. The lions roared and the birds piped in the branches.= A remarkable wealth of ancient goldsmith's work has been found in IRELAND, consisting principally of personal ornaments. In the 9th and 10th centuri= es the Irish workmanship was unsurpassed in Europe. It consisted principally of objects for religious use, and is characteriz= ed by a filagree of extraordinary richness, akin to the intricate traceries = of the Irish illuminated work on MS. of the same date and derivation. In the 10th and 11th centuries there was a great revival of art throughout Europe. In GERMAN= Y, the abbey of Hildesheim, under Bishop Bernward, became the centre of a school of goldsmiths, and s= ome beautiful specimens of hammered gold, by the bishop's hand, are preserved= .

Fig. 362. Egyptian Diadem of gold and lapis lazuli of = the ancient Empire, found in the tomb of Queen Aah‑Hotep.

Fig. 363. Greek Ear‑ring of gold, and part of a necklace. (Se= e also Fig. 276.)(1883m1)=

&nbs= p;

=

GO= LD. This metal, whi= ch in purity and firmness surpasses all others, is employed both in the plastic arts and to a limited extent in painting. The most varied and beautiful objects extant are the vessels used in religious services; and as it was = most properly employed in the sacred vessels and sanctuary of the old temple, = so the chalices and tabernacles of the new dispensation, and the shrines of = the saints, have been moulded of this precious metal; and in ecclesiastical ornament of all kinds, with its multiplied fibres, sometimes mingled with= silk and purple, it enriches the sacerdotal vestments and the hangings of the altar.

GOLD signifies p= urity, dignity, wisdom, and glory, and it is used in painting for the nimbi which surround the heads o= f the saints; it also frequently forms the ground on which sacred subjects are painted,= the better to express the majesty of the mystery depicted. It is a proper emb= lem of brightness and glory. ** =

**= See Pugin's Glossary of Ecclesiastical Ornament and Costume. (1855f1)

--- $H Gold, Egypt

In the hieroglyphs . It was in common use in Egypt, vases, cups, ingots, plaques and rings being depicted on the monuments. The rings may be seen = in scales, being weighed, doubtless a substitute for coinage, of which the ancient Egyptians had no knowledge. The gold was obtained from the so-cal= led "Arabian desert," that is, the country between the Nile and the= Red Sea, where the veins of quartz in the mountains contain gold, and from Nubia. The inscriptions speak of different qualities, such as "mountain gold," "gold of twice," "gold of thrice," &c. Gilding, or "overlaying with gold" was largely practised, objec= ts in stone, wood, and other materials as well as the heads of mummies being thus decorated, even scarabs of lapis lazuli were sometimes gilded. (See JEWELLERY.)(1902b1)

--- $H Go= ld, in Christian art. (See YELLOW.) (1883m1)

--- $H Go= ld, Cloth of. =

Gold, Cloth of, is mentioned in the Pentateuch, and was common throughout the East in all ages. It was originally wrought, not in rounded wire but flat, as the Chinese, the Indians, and the Italians (the= ir lama d'oro) weave it now. The ea= rly Roman kings wore tunics of gold, and the Romans used it as a shroud for burial. King Childeric, A.D. 482, was buried at Tournai in a mantle of go= lden stuff. It was much favoured in England for church vestment= s, and by royalty, especially by Edward IV. and Henry= VIII. and the nobility of their time. (The different varieties are described in their order. See ACCA, ARESTE, BATUZ, CHRYSO&#= 8209;CLAVUS, CICLATOUN, DORNECK, SAMIT.)(1883m1)

$H Goldbeater's Skin.

Goldbeater's Skin, prepared from a membrane found in the stomach of the ox, is used to separate leaf‑gold in the process of = gold‑beating.(1883m1)

$H Golden Fleece.

An Order of Knighthood instituted on the 10th of January, 1429, by Philip, Duke of Burgundy. The COLLAR is composed of double steel= s, interwoven with flint‑stones, emitting sparks of fire, at the end whereof hangs on the breast a Golden Fleece. T= he fusils are joined two and two together, as if they were double BB's (the cyphers of Burgundy). The flint‑stones are the ancient arms of the Sovereigns of Burgundy, with the motto "Ante ferit quam flamma micet.&qu= ot; (See Fig. 342.) The motto of the Order is "Pretium non vile laborum." There are four great officers, viz. the Chancellor, Treasurer, Register, and a King of Arms, called Toison d'Or. The BADGE consists = of a Golden Fleece, suspended from a flint‑stone, which is surrounded wi= th flames of gold.(1883m1)

$H Golden Spur.

An Order of Knighthood said to have been instituted by P= ius IV., at Rome, in 1559. They are sometimes spoken of as the CHEVALIERS PIES or PIORUM, a= nd must be distinguished from those who are created knights on the coronatio= n or marriage days of Emperors and Kings, and who receive at the same time the= Spurs of Honour. These alone are entitled to the appellation of EQUITES AURATI. [cf. Peter de Bellet, Favi= n, &c.](1883m1)

$H Golden Stole of Venice<= /st1:City>. (See STOLA D'ORO.) (1883m1)<= /h1>

$H Golione. Old English

O.E. A kind of gown.(1883m1)

$H Gomate= s.

A magian of the city of Pissiachadu. He raised up an insurrec= tion against Darius Hystaspes, calling himself Bartius, the son of Cyrus, the brother of Cambyses. He for a short time obtained the throne, but was afterwards deposed and slain by Darius, who restored the Zoroastrian religion, which had been overthrown by Gomates. (1876c1)

$H Gombron Ware. Pottery

(Pot.) The first Oriental ware brought to England in the 17th century was shipped at Gombron, and hence was called Gombron or Gombroon ware. When the importation of pottery from Persia came to an end on the opening up = of communication between China and England, the term Gombron ware disappeared from use.(1891a1)

$H Gondola.

It. A Venetian pleasure‑boat or barge.(1883m1)

$H Gonfalon, Gonfanon or Gonfannon.

Gonfalon or Gonfanon, Fr. (1) A richly‑worked poin= ted banner carried upon a lance; 13th century.

(2) An ecclesiastical banner.(1883m1)<= /p>

Gonfannon. A special kind of banner or flag borne at the head of a lance and ending in one or more points. Such banners are now fr= equently carried in processions of the Roman Catholic church. ILLUS. gonfanno(189= 1a1)

GONFANON. A small flag attached to the pol= e of a lance. "It differs from a banner in this respe= ct, that instead of being square, and fastened to a tonsure bar, the G= ONFANON, though of the same figure, was fixed in a frame made to turn like a modern ship's vane, with two or three streamers or tails. The object of the GONF= ANON was principally to render great people more conspicuous to their follower= s, and to terrify the horses of their adversaries." * F= IGURE

* = Sir H. Nicolas. AILETTES were sometimes called GONFANONS. (1855f1)

$H Gonfalonier.

The bearer of a gonfalon.(1883m1)

$H Gonfanon. (See Gonfalon) (1891a1)

$H Gonfannon. (See Gonfalon) (1891a1)

$H Goniometer.

An instrument employed to measure angles.(1891a1)

Goniometer ((T<\"[=3D= gonia], an angle, &c.). An instrument for measuring the angles of crystals.(1883m1)

$H Gonjo. Old English

O.E. (14th century). Said to be the gorget.(1883m1)

$H Gooru.=

In Buddhist mythology a travelling priest, whose special duty was the education of the young in matters of faith. (1876c1)

$H Gopouras. Hindu

Hind. The pyramid‑shaped door of the Hindoo temple= s. Dwararab'ha, or door of splendou= r, was the name given to a door with one or two tiers; dwarasala, or door of the dwelling, a door with two or four tiers; dwaraprasada, or propi= tious door, a door with three to five tiers; dwaraharmya, or door of the palace, a door with five to seven tiers; lastly, dwaragopouras, or door‑tow= er with seven to sixteen tiers.(1883m1)

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

In Scandinavian mythology the god of the m= onth of harvest. (1876c1)

$H Gore. Heraldry

(Her.) This is an abatement or difference sometimes b= orne on shields. It consists of two curved pieces cut out of the sinister side= of the field so as to form a cusp pointing towards the dexter.(1891a1)<= /o:p>

$H Gorge. Architecture

(Arch.) The upper part of a column below the echinus in = the Doric order. The term is also applied to a moulding of concave outline as well as to a kind of ogee in (q.v.) of strongly‑marked profile, whi= ch is employed in buildings of the Gothic style. ILLUS. gorge(1891a1)

&= nbsp;

$H Gorged. Heraldry

Gorged. Her. Wearing a collar.(1883m1)

GORGED. A term in h= eraldry, applied to any animal wearing a collar, which is sometimes in the form of= a coronet. (1855f1)

$H Gorget. Armour

Fr. A defence or covering for the neck.(1883m1)

A piece of armour used in the 15th and 16th centuries to protect the junction of the helmet and cuirass.(1891a1)=

GORGET. A metal covering for the throat, worn by an armed man, to protect the juncture between the helmet and the breast-plate. (1855f1)

$H Gorgoneia or Gorgoneion.

Gorgoneia. Masks of the Gorgon's head, which were fixed as bosses upon walls or shie= lds.

Fig. 364. Gorgoneia.(1883m1)

Gorgoneion. An ornament representing the head of a woman seen in full face, with serpents coiled round it and lips parted, which resembled the head of Medusa which Pallas carried an her shield. On accou= nt of its adaptability for filling up a certain space on a wall or shield it= was very widely used for decorative purposes. ILLUS. gorgonei(1891a1)

GORGONEION, GORGONE= IA. Masks in relief, representing the Gorgon's or Medusa's head; one of the grotesque representations of forms of terror which occupied a considerable rank in the plastic art of the Greeks. The filling up of a regularly circumscribed space was a law in relief. The mask was nearly the same in raised work that the herma was in regard to the round statue. Here also it was an architectonic purpose - the fixing of a countenance on a surface -= that gave its origin to this form. Of this description was the GORGONEION fast= ened on walls and shields. They also fixed masks of Dionysius in this way on walls; and in this cycle of gods, from which the mask system chiefly emanated, they were careful to produce a regular oval form by suitable treatment of the hair and all kinds of ornaments. FIGURE(1855f1)

$H Gossamer. Old English

O.E. (properly G= od's summer). The name is attributed to an old legend that the fine filame= nts so called are the fragments of the winding‑sheet of the Virgin Mary, which fell away from her as she was taken up to heaven.(1883m1)

$H Gothamites. Old English

O.E. The inhabitants of the = village of Gotham in Northumberland, renowned for their stupidity. A reprint of the tale called "The Wise Men of Gotham" appeared in 1840.(1883m1)

$H Gothic.

GOTHIC. As a term in architecture, it is applied to the mediaeval works, now more properly ter= med the pointed or Christian style. As a term in criticism, it is used to indica= te anything in a barbarous taste. (1855f1)

Gothic. A te= rm applied to mediaeval paintings and sculptures, distinguished by lank figu= res, the attitudes and movements of which display a certain stiffness. This deficiency, however, is fully atoned for by an extraordinary skill in execution and perfection of detail. Works of sculpture belonging to the Gothic period, being executed with the place they were to occupy in view, always fit into a moulding or niche, without exceeding their proper limit= . Under the term Gothic are included all buildings of the pointed style which succeeded the Romanesque. The most beautiful and refined buildings of this style belong to the 13th century. The developme= nt and periods of the Gothic style may be stated in a few words. From the 4t= h to the 11th century the Latin style of architecture prevailed. This was succeeded in the 11th century by what we call the <= st1:place w:st=3D"on">Norman, but which on the continent is termed the Romanesque style. Out of this grew Gothic architecture. In the 13th century the Early English or Lancet style was cultivated; of this the best example is Salisbury Cathedral. This was followed in the 14th centur= y by the Decorated style, which gave way in the 15th and 16th centuries to the Perpendicular style, or Gothi= c of the Decadence. These are the three main periods of Gothic architecture. T= he names we have given them are those generally adopted in England, but they are by no means universal. The three styles are sometimes termed Primary, Secondary, Tertiary, and the style which we have called Perpendicular is frequently known as Flamboyant. Gothic mouldings and ornament vary according to the style to which they belong, and informatio= n on these points are to be found under the heading= s Decorated, Early English, &c= . We give some cuts of Gothic bas= es, belonging to the 10th, 12th, 13th, and 14th centuries respectively.<= /o:p>

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

The term Gothic is also applied to characters of angular form, which were in general use in the Middle Ages, and are still retaine= d in Germany. Mediaeval manuscripts are executed in Gothic characters of extraordinary beauty, and their splendour is enhanced by initial letters sometimes pain= ted and sometimes even worked in gold. Manuscripts are generally executed in characters of a graceful outline and absolute regularity. In l= egal documents and accounts, on the other hand, a kind of cursive was adopted which could be rapidly written. Gothic characters differed in different periods, those of the 16th century resembling but little those of the 13th century. 6 ILLUS. gothic1, gothic2, gothic3, gothic4, gothic5, gothic6(189= 1a1)

&nbs= p; &nbs= p; =

$H Gou.

The modern name of the Greco-Egyptian town= of Antaeopolis. (18= 76c1)

$H Gouache. Painting

Fr. This term is applied to the use in water‑colour painting of opaque colours more or less mixed and modified with white. The process is extremely ancient, known to the Chinese and Indians of the earliest times, and to the Greeks and Romans. It was the method used by mediaeval illuminators. Its result is a velvety reflection of the light.(1883m1)

(Paint.) A method of water‑colour painting, in whi= ch opaque colours, diluted in a mixture of water, gum, and honey are used. T= he effect of gouache is an opacity of tone. In th= is method of painting the white of the paper plays no part. The paper is cov= ered just as thickly as the canvas is in oil‑painting; the lights are la= id on afterwards and not left blank on the paper. The miniatures in mediaeval missals were painted in gouache, and nowadays the method is employed in t= he execution of fans and hand‑screens. The disadvantage of gouache is = that it cracks and scales and speedily loses its brilliance when exposed to the air.(1891a1)

$H Gouderonné. Needlework

Goderonné, Gouderonné (Needlework). A flut= ed pattern of embroidery in vogue in the 16th century.(1883m1)

$H Gouge. Engraving

A tool used by engravers of precious stones to pierce ho= les and to hollow out large surfaces. The term is also applied to a kind of chisel hollowed out in the form of a demi‑cylinder, with a very sha= rp bevelled edge. It is used by sculptors in wood. Gouges differ very much in size and shape. 2 ILLUS. gouge1, gouge2(1891a1)

&nbs= p; &= nbsp;

$H Gourd of Noah.

A piece of ancient blue faience from Asia Minor. According to the tradition current in the country, these vessels, which a= re in great veneration, would go back to such remote antiquity that it was by one of them that Noah was betrayed into the first act of inebriety record= ed in history. (Jac= quemart.)

Fig. 365. Gourd‑shaped bottle. Anatolian.(1883m1)

$H Gouttée, Guttée. Heraldry

Gouttée, Guttée. Her. Sprinkled over with drops of gold, silver, blue (tears), red (blood), or black (p= oix).(1883m1)

GUTTÉ. (Fr.) An heraldic term, used to designate a shield or charge covered with drops, after the manner of the hearse-cloth, or hangings of a funeral-chamber. (1855f1)

$H Gouttes or Gutts. [See Gutts – Editor]

$H Gown.

(British gwn= , Norman gunna). The men wore gowns in the Middle Ages, the women at all times.(1883m1)