$H Grabatus.

Grabatus R. (6DV$"J= @= H[=3Dkrabatos]). A sort of low framework, consisting of a network of cords, used to support a mattress; = it was the least comfortable kind of bed; whence the French word grabat = to denote a sorry kind of bed.(1883m1)

$H Grabatusa.

The charioteer of Khi= tasira, king of the Hittites. He was killed in the battle of Kadesh by Rameses II. (1876c1)

$H Grace.

GRACE. One of the attributes of beauty in animated beings, resulting from the manner of act= ion and repose proper to each in individuals of healthy formation. Grace belo= ngs especially to the human form, the movements of which are infinitely more varied and more delicate than those of any other animal; still we can eas= ily recognise in the horse, stag, and other animals, a movement or carriage c= losely allied to grace. Every individual of good form, in whom no accident or bad habit has distorted the movements, possesses a natural grace; it proceeds not, as asserted by some writers, from a perfect union of the sentiments = of the soul with the action of the body; it is the result of an ensemble of the motions, and res= ides in the transient or continued attributes, independently of the emotions. = (1855f1)

$H Grace Cup.

(Pot.) A loving‑cup handed round the table in the Middle Ages after grace was said. The name is said to have originated in a device adopted by Margaret, wife of Malcolm Cammore<= /span>, in the 11th century, to prevent the Scottish nobles leaving the table bef= ore grace was said. To every man who remained at the table a draught of wine = from a gold cup was given, and this cup was henceforth called the Grace‑= cup.(1891a1)

$H Graces, The. Mythology

The Graces, which were three in number, were regarded by= the Greeks as the goddesses of beauty, innocent jollity, and amusement. They = have been a favourite subject with the painters and sculptors of all ages. They are generally represented as youthful maidens, dancing and singing, and crowned with roses. Sometimes they are draped, sometimes they are quite nude. Their attributes are the rose, the myrtle,= and dice.(1891a1)

$H Gradation.

Gradation. <= span style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt;mso-no-proof:no'>In decorative art gradation con= sists in placing next to one system of ornament another which most closely resembles it both in form and colour, followi= ng a certain ascending or descending scale.(1891a1)

GRADATION (SUBORDIN= ATION). The separation of the parts of a whole from one another - namely, the hei= ght from the depth, the strong from the weak, the heavy from the light, the n= ear from the distant, and the simple from the elaborate. If contrast be not arrived at in a work of Art, the artist, in order to acquire a just gradation, needs a wise economy of the means under his command; but this cannot be learned, it depends upon the taste and right feeling of the art= ist; yet the impression a work of Art makes rests wholly upon a just gradation= or subordination of its parts, for the want of which the most beautiful and tasteful execution cannot compensate, and without which the work becomes monotonous. We will take as an example of gradation, the arrangement of r= ooms in a palace. We enter a simple vestibule, and pass thence to the ornament= ed ante-chamber; next, we see the beautiful reception-rooms; and beyond thes= e we find splendidly-decorated apartments. Without this gradation, no growing impression would be made upon our feelings. In Architecture, gradation goes hand in hand with the rules f= or proportion and perspective; in Pa= inting, gradation of colour and light is needed to express depth and relief, to define distances, and to show the state of the atmosphere. (1855f1)

$H Gradient. Heraldry

Her. Walking.(1883m1)

$H Gradine. Sculpture

(Sculp.) A toothed chisel used by sculptors. With the grandine large pieces are removed from the marble, or certain parts, such as the beard a= nd hair, are modelled, the teeth producing a ser= ies of ridges, which serve as the basis of the work. ILLUS. gradine(189= 1a1)

$H Graduate. =

To divide in degree. To split up into divisions, the mea= sure of which increase or decrease according to a fixed proportion.(1891a1)

$H Gradus. Architecture

R. A flight of steps leading to a temple; the tiers of s= eats in a theatre or amphi‑theatre, &c.(1883m1)

$H Graeco‑Pelasgic.

The earliest period of Greek art is generally termed Graeco‑Pelasgic. It carries us back to an alm= ost mythical age. To it belong the colossal structures known as Pelasgic walls, which are composed of huge polygonal blocks of stone fitted together with the utmost regularity. An example of= the Graeco‑Pelasgic style is to be found in= the walls of Mycenae; in fact the famous Lio= n Gate at Mycenae is its most finished production. The sculptured bas‑relief over this g= ate represents two lions facing each other with a column between them. The he= ads were of brass, but are now lost. Much that Dr. Schle= imann excavated at Mycenae may be termed Graeco‑Pelasgic, and give= s us an excellent idea of the condition of art at this remote period.(1891a1)<= o:p>

$H Graeco‑Roman.<= /span>

A term applied to buildings constructed by the Romans in accordance with the principles of the Greek orders of architecture, with certain modifications of detail.(1891a1)

$H Graecostasis.=

A part of the Roman forum, where the Greek ambassadors s= tood to bear the debates.(1883m1)

$H Graffiti.

It. Lines drawn with a graver upon clay or plaster. (See SGRAFFITI.)(1883m1)

Drawings executed by hand and cut with a scraper in ston= e or plaster. The term is only used in this sense in archaeology. It also deno= tes a method of decoration which consists of black drawings on a white ground= , or vice versa, obtained by outli= nes accentuated by hatchings. By this method pictures or arabesques are execu= ted in stucco, and employed to decorate pilasters, archivolts, or friezes.(18= 91a1)

$H Grafted. Heraldry

Her. Inserted and fixed.(1883m1)

$H Grain. Painting

(Paint.) A term applied to the more or less wrinkled sur= face of a canvas, a panel, or a piece of board or paper. Paper of fine or coar= se grain is used in water‑colour according= to the subject. In engraving the gra= in is the effect produced by lines which cross one another.(1891a1)

$H Granaries. Egypt

Large chambers built of brick and standing in a row of ten or twelve. They were oven-shaped and had no communication with each other. The corn was poured= in through an opening at the top and removed through a small door at the bot= tom. The granaries were kept carefully guarded, and were under the care of the "Superintendent of the Granaries."(1902b1)

$H Grand‑garde.    Armour<= /h1>

Grand‑garde.<= /span> Plat= e armour to cover the breast and left shoulder, worn outside the usual armour in jousting at tournaments.(1883m1)

GRANDE-GARDE. (Fr.) A term for a piece of plate= -armour, used in the tournament as an extra protection for the left shoulder and breast. It was screwed to the breast-plate, and allowed little or no move= ment to the left arm, being only used on horseback, in "jousts of peace." (1855f1)

$H Grand Quarters.    Heraldry

Her. The four primary divisions of a shield when it is divided per cross or quarterly.(1883m1)

$H Granger Society.

GRANGER SOCIETY. A = society so named, after the great writer on biographical portraiture, Samuel Gran= ger. It was instituted in 1842, for the purpose of publishing a series of anci= ent English portraits and family pictures hitherto unengraved; the plan of ac= tion being a subscription among the members of one guinea a-year, for which ea= ch member was to receive a copy of each print published, the number so publi= shed depending on the quantity of subscriptions received. Some exceedingly int= eresting full-length portraits were published; but after about three years the soc= iety ceased to exist, owing to the small number of members secured to carry ou= t so expensive a thing as elaborately-executed copies of old pictures. (1855f1= )

$H Granite.

A hard stone composed of mica, quartz, and felspar. The Egyptians executed colossal statues in= red granite. In Brittany calvaries are frequently to be seen of grey granite. Granite is used for sculptured monuments and even for statues. F= or the latter purpose it is totally unfitted.(1891a1)

Granite, or Syenite, from = Syene, i.e. Aswân, whence it was most extensively quarried, is found in gr= eat variety in Egypt. There are pink and red syenites, porphyritic granite, yellow, grey, black, and white kinds; and others veined with white or with black are to be fou= nd within a small area round the first cataract. Granite was largely used in= all its varieties in the building of temples, the making of royal sarcophagi, colossi, obelisks, tabernacles, official stelae and statues. The finer grained kinds were even used for small objects such as amulets. The princ= ipal pyramids were originally partly cased in this material.(1902b1)

$H Granitel.

A term applied to a kind of grey granite which the Romans employed in building, and also to marble which presents the appearance of granite.(1891a1)

$H Granular.

A canvas or panel used in oil‑painting is said to = be granular when it is covered with wrinkles or roughnesses.(1891a1)

$H Granulation.

A kind of decoration employed in je= wellery, which consists in covering the surface of gold leaf with minute and almost invisible bosses of gold. It is found in Etrusco‑Greek jewels, but hitherto modern artists have failed to reproduce it.(1891a1)<= o:p>

$H Graphiel.

In Cabalistic mythology the intelligence of the planet Mars. (1876c1)

$H Graphite.    [See also Plum= bago and Black Lead - Editor]

Graphite. Plumbago<= /span>.(1883m1):

Graphite. A very fine plumbago. From the graphite of Siberia mixed wit= h sulphur of antimony and gum or size are manufactured crayons in the form of small cylinders, which are placed in a shank of cedar, juniper, or cypress wood= .(1891a1)

GRAPHITE, PLUMBAGO,= BLACK LEAD. Carbon, in a nearly pure form. It is well known under the title of black lead, although there is not a particle of lead in its composition. = It is extensively employed in making the so-called black lead pencils. (1855= f1)

$H Graphium.

GRAPHIUM. (Gr.) A pointed implement for wri= ting on the wooden wax-covered tablets used by the ancients as memorandum-book= s, or writing-books in general. The incised line produced by this instrument= has rendered the term familiar to modern ears, when connected with terms for various branches of Art - as chalcography, zincography, &c. <= span style=3D'font-size:12.0pt;font-family:Arial'>FIGURE (1855f1)

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

A mathematical instrument, called also a semicircle.(188= 3m1)

A mathematical instrument used to measure angles or distances. It consists of a semi‑circle of copper divided into degr= ees and a fixed and a movable alidade, through which the operator can observe= all directions included within the same horizontal plane. ILLUS. graphome(1891a1)

$H Graphotype.

A method of producing book illustrations for printing al= ong with type, without the art of an engraver.(1883m1)

$H Grass‑green.    (See CHRYSOCOLL= A.) (1883m1)

$H Grating.

A kind of fence formed of bars of iron or wood, sometimes richly ornamented. In the 12th century iron gratings were most elaborate.= The ornament consisted chiefly of foliage, the twigs of which were soldered to the base and fastened to the uprights with clasps. In the 14th century ornaments cut out of sheet iron and twisted were added to the foliage. At= the end of the 15th century riveted sheet iron was generally used and gratings became of considerable importance from a decorative point of view, and we= re surmounted with ornaments of great splendour.= 2 ILLUS. grating1, grating2(1891a1)

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

$H Graver.

Graver or Burin. An engraving‑tool. (See CHALCOGRAPHY.) (1883m1)

(Engrav.) A steel instrument= with a sharp point at one end. Some gravers have a square, others a lozenge= 209;shaped, point. The furrows cut with the square‑pointed graver are broad and= not very deep, and they print grey, because they do not take much of the ink.= The handle of the graver is cut off flat on one side so that it can be held c= lose to the copper‑plate. ILLUS. graver(1891a1)

GRAVER. The tool used in the practice of t= he art of engraving. It is sometimes termed burin. †
† See that word.(1855f1)

$H Gray.

GRAY is compounded of black and white in various proportions, or of the three primary colours= - red, blue, and yellow. According to the predominance of either of these, there are produced blue grays, purple grays, green grays; but when the re= d or yellow predominate, there are produced the various hues of brown. *

* = See Hundertpfund's Art of Painting restored to simpl= est and surest Principles. L= ondon, 1849.(1855f1)

$H Grazioso.    Music

It. In Music, an intimation to perform the music smoothly and gracefully.(1883m1)

$H Great Green. <= span style=3D'mso-spacerun:yes'>      Sea in ancient Egyptian (1894e1)

$H Greaves.    Armour<= /h1>

Plate armour for the legs.(1= 883m1)

Greaves, or armour for the front of the legs, were wo= rn both by the ancients and in the Middle Ages. They were generally made of metal, often richly chased, or (in the Middle Ages at least) of cuir‑bouilli (q.v.). Our cut represents a fine specimen from Pompeii. ILLUS. grea= ves(189= 1a1)

GREAVES. (Lat.) Part of the armour worn by the ancients, cons= isting of a protection for the legs, made of bronze, brass, silver, or gold, lin= ed with some soft material. They were fitted with great exactness to the legs, and fastened sometimes with straps and an ancle-r= ing, and richly ornamented and embossed. GREAVES ‡ are worn by the modern Greeks, but made of soft materials, such as velvet, ornamented with gold, and secured to the legs = by hooks and eyes. The GREAVES worn by knights in the middle ages were shaped like the antique, and buckled across the back of the leg; they were somet= imes made of cuir= -bouilli, and ornamented by stamped patterns and gilding. FIGURE

‡ Our engraving exhibits a remarkably elaborate and beautiful one, found in= the ruins of Pompeii<= /st1:place>. (1855f1)

$H Grece.    Old English

Grece. O.= E. A step, or flight of stairs. (See GRYSE.)(1883m1):

Gryse, Grece, Tredy= l, or Steyre. O.E.= A step, a flight of stairs.(1883m1)

$H Greeces.    Heraldry

Her. Steps.(1883m1)

$H Greek.    Ornament

Greek. A name given to a system of ornament consisting of broken lines at right angles to one another, describing portions of squar= es or rectangles. ILLUS. greek(1891a1)

--- $H Gr= eek Architecture.

Of Greek architecture before the development of the orde= rs little is known. The three purely Greek orders are the Doric, Ionic, and Corinthian. The first named appeared in the 7th century B.C., the second a hundred years later, and the last in the fifth century B.C. [Corinthian; Doric; Ionic.](1891a1)

--- $H Gr= eek Lace.    A kind of cutwork, described under = LACE (q.v.).(1883m1)

$H Green.

Green, in Christian art, or the emerald, is the colour of spring; emblem of hope, particularly hope= in immortality; and of victory, as the colour of= the palm and the laurel.(1883m1)

Green. (See CARBONATES OF COPPER, OXIDES OF COPPER, SCHEELE'S GREEN, SAP GREEN, CHROME GREEN, &c.)(1883m1)

Green. Green is a colour for= med by a mixture of yellow and blue. Green pigments are, generally speaking, oxi= des of copper. Malachite or mountain green in a hydrated bicarbonate of coppe= r. Scheele's green is a cupric arsenite. Sap gre= en, or verde vessie, on = the contrary, is obtained from the juice of buckthorn berries; but this is no= t a useful pigment, being fugitive, and it is only employed in water‑colour.(1891a1)

GREEN. A secondary = colour, compounded of the primaries blue and yellow: if the blue predominates, the compound is a blue-green; if the yellow predominates, it is a yellow-gree= n, or a warm-green. GREEN, in blazonry, sinople, signified = love, joy, and abundance. Among the Greeks, green symbolised victory, and among the = Moors it had the same signification; it also designated hope, joy, youth, and spring (the youth of the year), which gives the hope of harvest. The emer= ald may be taken for the standard of this colour, as used in church ornament.= In Latin it is called viridis, a= nd sometimes prasinus. Green sig= nifies of itself bountifulness of God, and in moral virtues, mirth, youth, and gladness. The green field is the emblem of felicity and prosperity to perpetuity, and is the symbol of the resurrection.(1855f1)

--- $H Gr= een Bice.    Painting

Green Bice. Green cinnabar. (See CHROME GREEN.) (1883m1)

A pigment composed of a carbonate of copper mixed with o= xide of iron. It is generally permanent, being only destroyed by acids.(1891a1= )

--- $H Gr= een, Brunswick.<= span style=3D'mso-spacerun:yes'>    Painting

Bruns= wick Green. A modification of MOUNTAIN GREEN (q.v.).(1883m1)

(Paint.) A pigment used in oil‑painting, obtained = from sulphate of copper, white oxide of arsenic, p= otash, and acetous acid. Ordinary B= runswick green is nothing more than a mixture of chromate of lead and Prussian blu= e, and is by no means permanent.(1891a1)

--- $H Gr= een, Chrome.    [See Chrome Gre= en.] (1891a1)

--- $H Gr= een Earth.

Green Earth (burnt terra‑verd= e) is a brown pigment, very useful for landscape painting in oil colours; it is not affected by exposure to strong l= ight or impure air.(1883m1)

--- $H Green, Iris     [See Lily - Editor]

--- $H Green Lakes.    (See PURPLE LAKES.) (1883m1)

--- $H Gr= een Pigments.    = (See PURPLE LAKES.) (1883m1)

GREEN PIGMENTS are = derived chiefly from the mineral world, and owe their colour to the presence of copper. Among the most valuable to the painter are malachite or mountain green, terra verde, Veronese green, native carbonate of copper, cobalt gr= een, and chrome green. The only vegetable green is sap green, which is employed occasionally in water-colour painting. The greens used by the ancients were appianum, creta virid= is (Veronese green), theodotion,= chrysocolla (malachite), and verdigris (acetate of copper). (= 1855f1)

--- $H Gr= een Verditer.    (See VERDITER.)= (1883m1)

$H Grees.    Architecture

Steps rising gradually one above the other. The term is generally applied to stories, galleries, or constructions of any kind whi= ch retreat one behind the other. ILLUS. grees(189= 1a1)

$H Gregorian Calendar.

The calendar as reformed by Pope Gregory XIII. in 1582.(1883m1)

$H Gregorian Music.

A collection of chants, originally compiled by Gregory I. (the Great), A.D. 600. "It was observed by St. Gregory, a great musi= cian of his time, that the Ambrosian Chants, handed down traditional= ly to a great extent, had become corrupted; he therefore subjected them to revision, and added other modes and scales to those four which Ambrose had retained. This was done by taking away the upper tet= rachord from the Ambrosian scales, and placing it bel= ow the lower tetrachord." (See Music, by the Rev. J. R. Lunn, B.= D., in Dictionary of Christian Antiquiti= es.)(1883m1)

$H Gregory, St.

Gregory, St.= St. Gregory was born at Rome in 540; in 590 he was made Pope, and fourteen years later he died. He is = the last of the Popes who was canonised. Artistic representations of him are frequently met with. He appears as a tall, dignified man, with little or no beard; he wears the tiara and carries a crosier, and his attribute is the dove, in allusion to the legend that the Holy Ghost in the form of a dove inspired him while he was writing his homilies. Many legends have gathered round the name of St. Gregory and ha= ve suggested subjects to religious painters, but space does not allow us to refer to them in detail here.(1891a1)

$H GREGORY, ST., THE GREAT. The last Pope who was canonised. = The events of his remarkable life are well known, and his great popularity has caused them to be a prolific source of subjects for the painter. He usual= ly wears the tiara as Pope, and bears the pastoral staff, seated on a throne, hold= ing in one hand a BOOK (his homilies), and with his peculiar attribute, a dov= e, resting on his shoulder, or hovering over his head. The subjects most fre= quently represented in works of Art are - "The Mass of St. Gregory," in which the Saviour appears to him with the attributes of the Passion surrounding him; "The Supper" of the saint; "St. Gregory releasing the soul of the Emperor Trajan;" and "The Mir= acle of the Stigmata." (1855f1)

$H Grès Cérame.    [See Stoneware.= ] (1891a1)

$H Grey.

Grey, in Christian art, the c= olour of ashes, signified mourning, humility, and innocence accused.(1883m1)

Grey. A term applied to the shades obtained by the mixtu= re of white with black or some other dark colour. Thus, when we speak of a grey brown, a grey blue, or a grey green we refe= r to greys of a different tone, their dominant tint being brown, blue, or green respectively.(1891a1)

$H Grey‑beard or Greybeards.

Greybeards, O.E. Stone‑ware drinking‑jugs, with a bearded face on the spout.(1883m1)

Grey‑beard. (Pot.) A term applied to the brown sto= ne pots, with a bearded head or mask on the neck, which were imported in lar= ge numbers from the Low Countries to England during the 16th and= 17th centuries.(1891a1)

GREYBEARD. A name a= pplied to stone-ware drinking-jugs, commonly used in the sixteenth and seventeen= th centuries, and which had a bearded face in relief upon the upper part of = the spout. The term is still applied in Scotland to a large spheric= al vessel for holding liquors. (1855f1)

$H Gridiron.

Gridiron. (It= . la graticola). The attribute of St. Lawrence.(1883m1)

GRIDIRON. Is the em= blem of St. Laurence, who suffered martyrdom by being broiled to death on one. It= is also an attribute of St. Faith, who was similarly tormented; and of St. Vincent, who was partially roasted on one cov= ered with iron spikes.(1855f1)

$H Griffe.    Architecture

(Arch.) A decorative leaf slightly curled at the edges, which connects the convex circular moulding at the base of Romanesque c= olumns and the clustered columns of the Gothic style to the square pedestal bene= ath it. Sometimes the griffe starts from the torus (q.v.) and fills the small triangle formed by the a= ngle of the plinth. This is the position most frequently occupied by it. In buildings belonging to the 13th century we find griffes cut out of the so= lid plinth and presenting no point of contact with the torus. ILLUS. griffe1, griffe2(1891a1)<= o:p>

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

$H Griffin, Gryphos, or = Gryphus

Griffin. (See GRYPHUS.)(1883m1):<= /span>

Gryphus, Griffin Gen. ((DbR[=3Dgrups]). A fabulous animal, represented with the body of a li= on, and the head and wings of an eagle. In ancient art it was applied in the decoration of friezes, one of the finest specimens being that at the temple of Antoninu= s and Faustina at Rome. It was a heraldic symbol among the Scythians, and is the ancient crest of= the city of London. As an emblem this monster symbolizes the destroying power of the gods. Fig. 369. Heraldic Griffin.(1883m1)<= /span>

=

Gr= iffin. (A= rch. and Her.) An imaginary animal with the head and wings of an eagle, and the body and feet of a lion. In the heraldic griffin the front feet as well as the head and wings are often those of an eagle, only the back half of the creature being in the form of a lion. ILLUS. griffin(1891a1)

GRIFFIN, GRYPHOS. A fabulous animal, usually represen= ted with the body and legs of a lion, and the head and wings of an eagle, signifying the union of strength with agility. The figures of griffins we= re frequently used as ornaments in works of Art, the earliest instance of wh= ich we have any record is the bronze Patera which the Samians ordered to be m= ade about B.C. 640. The GRIFFIN<= /st1:City> is employed as an emblem of vigilance, and is met with in tombs and sepulchral lamps, in significance of the act of guarding the remains of t= he deceased. As an attribute, it signifies the destroying power of the gods.= FIGURE(1855f1)

$H Grillage.

A grating of iron or wood, with which openings may be cl= osed without shutting out the light.(1891a1)

$H Grinding.

Pigments are generally ground in poppy or nut oil, which= dry best and do not deaden the colours. It is ess= ential that these oils be in the purest state, bright and clear. A good oil ough= t to be so dry in five or six days that the picture can be repainted.(1883m1)<= o:p>

--- $H Grinding of Pigments

GRINDING OF PIGMENT= S. In oil-painting the pigments are generally ground in poppy or nut oil, as th= ey dry the best, and do not deaden the colours. It these oils be not in the purest state, bright and clear, or if they be rancid or rendered impure by mixture with other oils, they will turn yellow on the painting, deaden th= e colour, and dry with difficulty. A good oil ought to be so dry in five or six day= s, that the picture can be repainted. Formerly it was the custom for each ma= ster to prepare the pigments in his own studio, and the first occupation of the pupil consisted in washing and grinding them, by which much practical acquaintance with the qualities of pigments was acquired, the proper oils with which each should be ground, the composition and properties of varni= shes, &c.; but, since the time of the Caracci, instruction has taken a high= er direction, and the knowledge of this mechanical part of Art has been neglected by the artist, who is content to obtain from the colourman all = the matériel of his Art ready= for use; it cannot be denied that the painter is a loser by this practice. A = mere glance at the list of pigments prepared for sale will serve to convince a= ny intelligent mind that a very large proportion of them are merely "ma= de to sell," and the tyro is confounded at the first step with the weal= th of his colour-box. Besides, many of the pigments are sold in a ground state, which cannot be fo= und in a dry state; all such are emp= irical compounds. A practical examination (such as grinding, &c. would ensure) of those pigments which are t= ruly indispensable to the painter, would reduce the number so much, that the earnest and industrious artist would willingly undertake the labour of preparing them for his own use, and thereby acquire a command over his materials that would impart a certainty and force to his execution, and f= ully compensate him for his pains.(1855f1)

$H Griphus.

Gr. and R. ((DÃN@H[=3D= griphos]). Literally, a fishing‑net, and then= ce a riddle propounded by guests at a banquet.(1883m1)

$H Grisaille.    Painting

Grisaille. <= span style=3D'font-size:12.0pt;mso-no-proof:no'>Fr. A style of painting in grey, by which solid bodies a= re represented as if in relief; adapted for architectural subjects.(1883m1)<= o:p>

Grisaille. (Paint.) A painting in imitat= ion of bas‑reliefs, in which only black and white and the greys obtained by mixing them are employed.(1891a1)

GRISAILLE. (Fr.) In grey.= A style of painting employed to represent solid bodies in relief, such as friezes, mouldings, ornaments of cornices, bas-reliefs, &c., by means of grey tints. The objects represented are supposed to be white; the shadows which they project, and the lights, from those most vividly reflected to the least, are properly depicted by the various grey tints produced by the mixture of white with black pigments, = or sometimes by brown. Many painters make the frotté, or first sketch of their pictures, in a brown tint, to which the term en grisai= lle is sometimes misapplied. (1855f1)

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

In Scandinavian mythology one of the wives= of Odin. (1876c1)

$H Groat.

An old English silver coin, equal to 4d. In England, in the Saxon times, no silver coin larger in value than a penny was struc= k, nor after the Conquest till the reign of Edward III., who about 1351 coin= ed grosses or great pieces, which w= ent for 4d. each; and so the matt= er stood till the reign of Henry VII., who in 1504 first coined shillings. <= /span>Fig. 366. Groat of Edward III.(1883m1)<= /span>

=

$H Grogram.

(Fr. gros‑grains). A coarse woollen cloth with large woof and a rough pile. Gro= gram gowns were worn by countrywomen, 15th to 17th centuries. Fairholt says that the mi= xed liquor called grog obtained i= ts name from the admiral who ordered it to be given to the sailors; who from wearing a grogram coat was called "Old Grog."(1883m1)

$H Groin.    Architecture

(Arch.) A curved line formed by the meeting of the surfa= ces of two intersecting vaults or portions of vaults.(1891a1)

Arch. The angular curve formed at the intersection of a vaulted roof; the line made by the intersection of arched vaults crossing each other at any angle. (See Fig. 173.)(1883m1)

$H Groined Vault.    Architecture

(Arch.) A vault formed by the intersection of two demi‑cylinders. Two barrel vaults (q.v.) laced perpendicularly to one another will form a groined vault. ILLUS. groinedv(1891a1)

$H Grolier Scroll.    Ornament

Grolier Scroll. A beautiful and elaborate styl= e of decoration for bookbinding, introduced by Grolier, a celebrated patron of bookbinding, in the 15th century.(1883m1)

Grolier Scroll. A system of ornament consistin= g of curves and angles combined. It obtained its name from the Chevalier Groli= er, who in the 15th century adopted this scroll for the decoration of the bindings of books.(1891a1)

GROLIER SCROLL. An ornamental scroll embracing curved lines, half-circles, and angles, and greatly resembling the "strap-work" of the sixteenth century, except in the addition of foliations. The ease with which it could be ada= pted to all ornamental purposes soon made it abundantly popular. It obtains its name from the Chevalier Jean Grolier, one of the four treasures of France (who was born 1479), he was a great lover of books, and adopted this styl= e of decoration for the sumptuous bindings with which he enriched them, and wh= ich he is said to have designed himself in moments of leisure. So remarkable = are they for the taste and care bestowed on them, that a book intrinsically w= orth five shillings has fetched at a sale more than forty pounds. (1855f1)

$H Groma and Gruma.

R. A quadrant; an instrument used by land‑surveyor= s. In the plural, grumae denotes the intersection of two roads cutting each other at right angles.(1883m1)

$H Groove.    Architecture

(Arch.) A hollow cut lengthways in a plank or block of s= tone and intended to receive a projection of precisely the same dimensions. ILLUS. groove(189= 1a1)

$H Grotesques.

GROTESQUE (Ital.) Fanciful or absurd; compo= sed of heterogeneous or ludicrous parts. The term is said to have originated in = Italy, upon the discovery of some whimsically designed paintings in the artifici= al caves of Roman houses, which were imitated in the grotto decorations of modern villa residences. (1855f1)

Grotesques. = Systems of ornament painted, drawn, or sculptured, representing fantastic subjects or forming arabesques, in which extravagant figures and fanciful animals are interlaced. Mediaeval sculptors executed grotesques with extraordinary sk= ill. The taste for this method of decoration continued during the period of the Renaissance. There are in existence grotesque figures designed by Leonard= o da Vinci and Raphael. In the 17th century Teniers a= nd Callot painted fantastic scenes in which grotesque figures play an important part.(1891a1)

Grotesques. = Arch= . (It. grottesco, the style in which grottoes were ornamented). Figures of a monstrous, com= ic, or obscene character, which were spread in profusion over the faça= des of churches by mediaeval artists (ymaigiers); in stone and in wood; on choir‑stalls and the wood‑work and wainscoting of interiors. Figs. 367, 368 represent figures upon the stalls and columns in Rouen Cathedral.

Fig. 367. Grotesque from a stall = in Rouen Cathedral.

Fig. 368. Grotesque decoration fr= om the Cathedral at Rouen.(1883m1)

       &nbs= p;             =

$H Grotto.

An artificial cavern made of rocks and often adorned with statues. Grottoes were much employed during the 18th century in the decoration of gardens.(1891a1)

$H Ground.

GROUND. The first l= ayer of paint placed upon canvas previous to the commencement of the artist's wor= k on a picture. The substratum of house painting. The lowest part of a work in relievo. (1855f1)

Ground. In the language of art the word ground has several significations. Laying a ground in engraving is an operation the object of which is to cover with a uniform grain a plate of metal, which is to be engraved in mezzotint. To perform this operation a rocker (q.v.) is employed, an instrument said to have been invented by Abraham Blooteling (1634‑1695). The roc= ker is run up and down over the plate, first in one direction and then in the ot= her. A proof of the plate is then struck off, that a judgment may be arrived a= t as to the grain. This, if the plate is to be a success, should yield a velve= ty black, uniform in tone in every part of the plate. For the meaning of the term in etching see Etching‑ground. In painting, the ground is the first layer of colour which is applied to the canvas before the artist begins to paint his picture.(1891a1)<= /span>

$H Ground Floor.    Architecture

(Arch.) That part of a house which is on a level with the ground or is raised above it only by a few steps. ILLUS. groundfl(1891a1)

$H Ground-Plan.

GROUND-PLAN. A representation to a given scale of the various apartments and general arrangement of a building or place. (1855f1)

$H Grounds or Priming.    [See Priming - Editor]

Grounds or Priming.= In painting, the first coat of colour laid all o= ver the canvas, upon which the picture is to be painted.(1883m1)

$H Group or Grouping.

Group. A collection of several figures or objects forming one whole. The groups in= a picture should present well‑balanced masses. In sculpture a group i= s a collection of several figures, each of which is necessary to the action of the whole. The outline and arrangement of such a group should present an harmonious effect.(1891a1)

Grouping. A te= rm applied to the fashion in which figures are arranged in a painting, drawi= ng, or piece of sculpture.(1891a1)

GROUP, GROUPING. Th= e union of several figures, or of various material objects placed in contact with each other, for the purpose of forming a single mass; such, under picture= sque relations, is the motif of the formation of groups. If the action permit the characters to be dispersed,= the artist endeavours to bring them together and to form groups of two, three= , or of a greater number of figures, by which the view is limited, and the attention of the spectator concentrated upon the most important point. Grouping gives to the painter masses varied in extent and form, and the figures of larger size than they could be if each were depicted separatel= y. It is necessary that the figures comprised in a group be subordinate to e= ach other, that those which are most important in the action are also the most prominent, and which call the attention to the place which they occupy in= the group by the attitude, light, development, &c. The pyramidal arrangem= ent is considered the most favourable in grouping; the middle point, in which= the spiritual significance is concentrated, is thus rendered more prominent by greater dimensions, Among the Greeks this form was used for the pediments= of temples, with the figures far apart; but even the more crowded groups of later Art present this pyramidal fundamental form. In order to attain the necessary unity, the principal figure was raised, in proportion to the su= bordinate, beyond the natural proportion. The symmetrical arrangement of the figures= on the right and left, was, in the antique style, mere stiff regularity; improved Art admitted of freer alternations, and by combining the individ= ual figures into subordinate groups, introduced more variety of interest. In = the group, especially when it exceeded two figures, the statue approached the basso-relievo, inasmuch as all the figures usually stood in a vertical pl= ane, in order to be unfolded in complete view for a particular point, and at t= he same time that no considerable part was left vacant, they were neverthele= ss not concealed by the limbs. - Müller's Ancient Art and its Remains. (1855f1)

$H Grus.

Lat. (a crane). A constellation of the southern hemisphere.(1883m1)

$H Gry.

A measure containing 1/10 of a line. A line is 1/10 of a digit, a digit is 1/10 of a foot, an= d a (philosophical) foot is 1/3 of a pendulum whose vibrations, in the latitu= de of 45°, are each equal to one second of time, or 1/60 of a minute.(1883m1)

$H Grydat.

In Scandinavian mythology another of the w= ives of Odin. (1876c1)

$H Gryphos, Gryphus, or Griffin.    [See Griffin - Editor]

$H Gryse    [See Grece - Editor]

Gryse, Grece, Tredy= l, or Steyre. O.E.= A step, a flight of stairs.(1883m1)

$H Grabatus.

$H Grabatusa.

$H Grace.

$H Grace Cup.

$H Graces, The. Mythology

$H Gradation.

$H Gradient. Heraldry

$H Gradine. Sculpture

$H Graduate. =

$H Gradus. Architecture

$H Graeco‑Pelasgic.

$H Graeco‑Roman.<= /span>

$H Graecostasis.=

$H Graffiti.

$H Grafted. Heraldry

$H Grain. Painting

$H Granaries. Egypt

$H Grand Quarters. Heraldry

$H Granger Society.

$H Granite.

$H Granitel.

$H Granular.

$H Granulation.

$H Graphiel.

$H Graphite. [See also Plum= bago and Black Lead - Editor]

$H Graphium.

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

$H Graphotype.

$H Grass‑green. (See CHRYSOCOLL= A.) (1883m1)

$H Grating.

$H Graver.

$H Gray.

$H Grazioso. Music

$H Great Green. <= span style=3D'mso-spacerun:yes'> Sea in ancient Egyptian (1894e1)

$H Grece. Old English

$H Greeces. Heraldry

$H Greek. Ornament

--- $H Gr= eek Architecture.

--- $H Gr= eek Lace. A kind of cutwork, described under = LACE (q.v.).(1883m1)

$H Green.

--- $H Gr= een Bice. Painting

--- $H Gr= een, Brunswick.<= span style=3D'mso-spacerun:yes'> Painting

--- $H Gr= een, Chrome. [See Chrome Gre= en.] (1891a1)

--- $H Gr= een Earth. Green Earth (burnt terra‑verd= e) is a brown pigment, very useful for landscape painting in oil colours; it is not affected by exposure to strong l= ight or impure air.(1883m1)

--- $H Green, Iris [See Lily - Editor]

--- $H Green Lakes. (See PURPLE LAKES.) (1883m1)

--- $H Gr= een Pigments. = (See PURPLE LAKES.) (1883m1)

--- $H Gr= een Verditer. (See VERDITER.)= (1883m1)

$H Grees. Architecture

$H Gregorian Calendar.

$H Gregorian Music.

$H Gregory, St.

$H Grès Cérame. [See Stoneware.= ] (1891a1)

$H Grey.

$H Grey‑beard or Greybeards.

$H Gridiron.

$H Griffe. Architecture

$H Griffin, Gryphos, or = Gryphus

$H Grillage.

$H Grinding.

--- $H Grinding of Pigments

$H Griphus.

$H Grisaille. Painting

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

$H Groat.

$H Grogram.

$H Groin. Architecture

$H Groined Vault. Architecture

$H Grolier Scroll. Ornament

$H Groma and Gruma.

$H Groove. Architecture

$H Grotesques.

$H Grotto.

$H Ground.

$H Ground Floor. Architecture

$H Ground-Plan.

$H Grounds or Priming. [See Priming - Editor]

$H Group or Grouping.

$H Grus.

$H Gry.

--- $H Gr= een Earth.

Green Earth (burnt terra‑verd= e) is a brown pigment, very useful for landscape painting in oil colours; it is not affected by exposure to strong l= ight or impure air.(1883m1)