$H H.

H, as an old Latin numeral, denotes 200, and with a = dash above it (H) 200,000.(1883m1)

$H Haas.

A mystical divinity or spirit, who is mentioned in the XLth chapter of the Ritual o= f the Dead. (1876c1)

$H Hab. Egypt

The sacred name of the ibis as the messeng= er of Thoth. (1876c1)

The Egyptian name of the pickaxe or hand plough which was generally placed in the hands of the Shabti mummy figures. (18= 76c1)

$H Haban.

The father of Yanzu, king of Zimri, which see. (1876c1)=

$H Habanamru.

The king of Buda or B= udahu, a kingdom in Arabia. His country was r= avaged and himself put to death by Esarhaddon, king of As= syria. (1876c1)

$H Habbar.

A high-priest of Melk= arth, who became king or suffete of Tyre. He = reigned for six months after the death or deposition of Caleb, and upon his own d= eath or resignation, two joint suffetes were elect= ed, named Muthon and Gerasht= aroth, which see. (1876c1)

$H Habena.

R. (habeo, to hold). A term with numerous meanings, all of which were connected more or less with the idea of a thong or strap. In the singular, it signifies a halter; in the plural, habenae, reins.(1883m1)

$H Habergeon.

Habergeon. A coat of mail, or breastplate.(1883m1)

HABERGEON.= A soldier's outer tunic. (See = HAUBERGEON.) (1855f1)

$H Habini.

The king of Tel-Abni<= /span>, a petty state of Mesopotamia, which submitted to Assurnazirpal. (1876c1)

$H Habit, Monastic.

HABIT, MONASTIC. The different monastic orders are distinguished by the colours peculiar to each, the knowledge of which is important to the artist. The Benedictines wore black, the Dominicans black mantles over white tunics. Black was also worn by the Augustines, the Serviti= , the Oratorians, and the Jesuits. White over black = was worn by the Carmelites and the Praemonstratensians. White is worn by the Cisterci= ans, the Port Royalists, the Trappists, the Trinit= arians, and the Camaldolesi. The original colour of the Franciscans was grey; the reformed Franciscans wore the dark brown tunic. *<= o:p>

* = See Mrs. Jameson's Legends of the Monastic Orders. (1855f1)

$H Habited. Her. Clo= thed. (1883m1)

$H Habitzu.

A King of Kadasiha or Kadesh, a district in Arabia. He was conquered and put to death by Esarhaddon. (1876c1)

$H Habu.

A city and nome in Lower Egypt, called Bubastis= by the Greeks. It was sacred to the worship of the goddess Hathor. (1876c1)

$H Hachia.

Acha, Achia, Hachia. Lat. A battle‑axe. (1883m1)

$H Hackbut or Hagbut. Arquebus with a hooked stock.(1883m1)

$H Hackney Coach.

Hackney Coach (from the French coche‑à‑haquenée). The haquenée was a strong kin= d of horse formerly let out on hire for short journeys.(1883m1)

$H Hadad.

Hadad. "The Only One." The name of the Supreme Being in Phenician mythol= ogy. He was sometimes called El and Jaoh, the last= in a mysterious sense. (1876c1)

$H Hadatta.

A Nabathean to= wn where the army of Assurbanipal were compelled to rest themselves in the w= ar with the Arabian and Nabathean rebels. (1876c= 1)

$H Hadjar-el-aswad.

The name of the sacred black stone in the great temple of Mecca. It is supp= osed to have been originally an aerolite or Baetylia. (1876c1)

$H Hadrianea.

R. Small buildings in which Christians were allowed = to meet, in virtue of an edict granted in their favour by the Emperor Hadrian.(1883m1)

$H Hadura.

In Arabic history a tribe inhabiting the <= st1:place w:st=3D"on">province of Yemen, which was called Rass. They were idolaters, and slew the prophet Shoaib, the son of Dhu-mahdam<= /span>, who was sent to convert them. They were in consequence destroyed for their impiety. (1876c1)

$H Haematinon.

Haematinon R. (= "Ê= :V= J4= <@= <[=3Dhaimatinon], of blood). A kind of glassy substance of a beautiful red, and susceptible= of taking a fine polish. It was used to make small cubes for mosaic or small works of art.(1883m1)

$H Hagar. Or Hakar.

The Hieroglyphic form of the name of a kin= g of the XXIXth Egyptian dynasty who was called Achoris by the Greeks. He joined Evagoras, king of Kypros, in his war against Artaxerxes II., and was defeated by him B.C. 393. He reigned eight years. (1876c1)

$H Hagaranu.

A tribe in Mesopota= mia who were conquered by Tiglath Pileser II. (1876c1)

$H Hagbut or Hackbut. Arquebus with a hooked stock.(1883m1)

$H Hagiel.

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

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

Hagiographa (sacred writings). A name applied to those books of Scripture which, accordin= g to the Jewish classification, held the lowest rank in regard to inspiration. These are the books of Ruth, Psalms, Job, Proverbs, Ecclesiastes, Song of Solomon, Lamentations, Daniel, Esther, Ezra, and Chronicles.(1883m1)

$H Haiasdan.

The primitive name of ancient Armenia<= /st1:place>. (1876c1)

$H Haidala.

A mountain city of Elam, whither Khudurnanhundi fled for refuge from t= he army of Sennacherib, who was compelled by the stress of winter weather to retreat, leaving the king of Elam to die there in peace about three months afterwards. (1876c1)<= /span>

$H Hair.

Hair. The As= syrian monarchs are represented with beard elaborately plaited, and hair falling= in ringlets on the shoulder, which may have been partly artificial, like tha= t of the Persian monarchs, who, according to Xenophon, wore a wig. Both the ha= ir and beard were dyed, and the eyes blackened with kohl, &c. (Layard.) The Egyptians kept the head shaved, and wore wigs and beard‑= ;boxes. The Hebrews generally wore th= e hair short, but the horse‑guards of King Solomon "daily strewed the= ir heads with gold dust, which glittered in the sun." (Josephus.) The ancient Greeks wore their hair long. The Athenia= ns wore it long in childhood, had it cut short at a solemn ceremony when they became eighteen years of age, and afterwards allowed it to grow, and wore= it rolled up in a knot on the crown of the head, fastened with golden clasps= (crobylus, corymbus). Women wore bands or coifs (sphendone, kekryphalu= s, saccus, mitra). Youths and athletes are represented with short hair. = The favourite colour was blonde (xanthus= ); black was the most common. The ancient Romans also wore long hair; about 300 B.C. the practice of wearing it short came= in (cincinnus, cirrus). The Roman women anciently dressed their hair very plainly, but in the Augustan period adopted some extravagant fashions. Ea= ch of the gods is distinguished by his peculiar form of hair: that of Jupite= r is long and flowing; Mercury has close curling hair, &c. The Danes, Gauls, and Anglo̴= 9;Saxons wore long flowing hair, and the shearing of it was a punishment: when Jul= ius Caesar conquered the Gauls, he cut off their long hair. Among the early Frankish kings long hair was the privilege of the blood royal. From the time of Clovis the French nobility wore short hair, but as they grew less martial the ha= ir became longer. François= I. introduced short hair, which prevailed until the reign of Louis XIII., which was followed by the perio= d of periwigs and perukes of Louis XIV. The variations from the Conquest to the last generation in England ar= e so striking and frequent that each reign may be distinguished by its appropr= iate head‑dress. (Consult Fairho= lt's Costume in England= , Planché's Cyclopaedia of C= ostume, &c.)(1883m1)

HAIR. Among the ancients, from the earliest times, the hair of the head was an object= of especial care and attention. Among the Greeks, it was at first worn long = by adults; boys, especially those of Sparta, until the age of puberty, wore their hair cropped close. At a later perio= d, it was customary for men to wear their hair cut short. The Athenian custom was the opposite of the Spartan; the hair was worn long in childhood, and= out upon arriving at manhood. The cutting of the hair was an act of solemnity, and performed with many ceremonies. In works of Art, the ephebi (youth who had att= ained the age of eighteen) and the athletae are always represented with short hair. Among= the females, it was the custom to confine the hair with a band, or with net-w= ork, sometimes richly ornamented with gold and other metals, examples of which= are seen in the paintings found at Pompeii. In other representations, we find the hair enclosed in a kind of bag, mad= e of various textile materials. The colour most pr= ized was blonde, although black was the most common. In ti= mes of mourning, the hair was cut short. This apparently unimportant portion of fashion - the dressing of the hair - is, however, of extreme moment to the artist and the antiquary, as by a knowledge of= its peculiarity he can detect the age of a statue, and frequently the person = it represents. "All the Greek divinities are distinguished by a characteristic coiffure, modi= fied in some respects as the arts progressed, but never altered in character f= rom the original model, so that any person tolerably conversant with the work= s of Greek Art may almost invariably recognise the= deity represented from the disposition of the hair."** Thus, the hair of Jupiter rises from the forehead to fall = back in long wavy locks on each side the face; Apollo has the long locks twist= ed and tied over the head, and flowing down the neck and shoulders; Mercury = has close curly hair; Hercules, thick close curls, like a lamb's fleece; Juno= has the hair parted in front, and falling in dignified locks; Venus has hers gathered in a simple knot behind, &c. &c. The Roman ladies dressed the hair with great simplicity in the early times of the empire; but in t= he latter days of Roman luxury varied and intricate modes of hair-dressing w= ere continually adopted, particularly in the reigns of Augustus, Claudius, and Hadrian; indeed, the monuments of the latter period may be readily identi= fied by the laboriously-constructed and exaggerated coiffure adopted by the ladies. Gold-dust was frequently used= to heighten its effect; and as luxury increased, so did the cost and care of= the ladies in hairdressing.

**= Smith's Dictionary of Greek and Roman Antiqu= ities. (1855f1)

The barbaric nat= ions delighted in the profusion of their locks, particularly the Germanic and northern tribes; and in their graves it is usual to find ornamental combs buried with the deceased, as a most valued possession. The early Britons = were noted for their long bushy hair; and the ancient Irish cherished the &quo= t;glibbes" or matted locks which fell upon their shoulders. The Saxons, particularly, prided themselves on their light-coloured flowing locks; and so did the Danes, who bestowed much care in combing and arranging them; it is recorded of one warrior, who was about to suffer decapitation, that his last request to t= he executioner was neither to allow his hair to be touched by a slave, nor stained by his own blood. Harold Harfagre obt= ained that cognomen from his "fair locks;" and the old northern poets seem almost to confuse the sexes when speaking of a man as "beauteou= s in his locks." The Normans= wore the hair long, the ladies encasing it in silken nets, or entwining it with ribbons, allowing it to reach to the ground. In the thirteenth and fourteenth centuries, it was worn by men very thick, and curled at the si= des (Fig. 1) in a very peculiar manner; the ladies generally confining theirs= in a golden caul of net-work, or allowing it to = flow freely, confined by a band across the head, except for a short period, wh= en they dressed it like great horns upon the forehead. In the fifteenth cent= ury, men cut the hair closely; and during the reign of Richard III. they cropped it round the face in a very peculiar way (Fig. 2). The two engravings will serve to show how accurately periods ma= y be indicated by the style of hair adopted. During the sixteenth century, it = was again worn long, and one lock cherished uncut, and termed "a love-lock," which hung below the waist, decorated with ribbons. Queen Elizabeth introduced a most elaborate style of decorating the hair with jewels, ribbons, and feathers - a fashion continued in the succeeding rei= gn. The Puritans rigidly cropped the hair; hence the term "round-head.&q= uot; With the Restoration, flowing curls came; and were succeeded by a variety= of styles, which it would occupy a volume to describe.* T= WO FIGURES

* For further infor= mation of a more detailed kind, and many illustrative engravings, see Fairholt's= Costume in England, &c. (1855f= 1)

&nbs= p;

$H Hair Brushes. [See Hair Pencils - Editor]

$H Hair‑cloth. (See CILICIUM.) (1883m1)

$H Hair Pencils, Hair‑Pencils, or Hair Brushes.

Hair Pencils or Brushes are made of the finer hairs = of the marten, badger, polecat, camel, &c., mounted in quills or white iron tubes. The round brushes should swell all round from the base, and dimini= sh upwards to a fine point, terminating with the uncut ends of the hair. (See FITCH.)(1883m1)

Hair‑pencils. = (Paint.) Hair‑pencils are generally made of the hairs of the martin or badge= r. The hairs are mounted in a quill if the pencil or brush is to be used for painting in water‑colour, and in a tube= of tin or copper if it is to be used in oil‑painting. ILLUS. hairpenc(1891a1)

<= /p>

HAIR PENCI= LS, or brushes, are made of the finer h= airs of the martin, badger, &c., for the purposes of the artist; or of the swine, hog, &c., for coarser work. They are mounted in quills or tin, according to their size, or the use to which they may be appropriated. A perfect pencil should swell all round from the base, and diminish upwards= to a fine point, which should be solely produced by the tapering of the tips of each hair toward the centre; the entire form taking a conical shape. (185= 5f1)

$H Hair Restorer. Egypt

There are several prescriptions in the Ebers Medical Papyrus which are said to be sure remedies for baldness, and for restoring hair to the original colour after it had turned white. Queen Shesh, the mother of King Teta= , of the VIth Dynasty, found an excellent remed= y for the falling out of her hair in the following pomade, made of the hoof of a donkey, a dog's pad and some date kernels, which were to be all boiled together in oil. Another sovereign remedy was to be found in the use of t= he plant Degem<= /i>. To prevent the hair from becoming white or to restore it to its youthful colour, a remedy could be made of "the blood of a black calf that had been boiled in oil." "The blood of the horn of a black bull&quo= t; boiled in oil and made into an ointment was also useful for the same purp= ose. The "fat of a black snake" was also thought to produce excellen= t results. It was equally possible to cause the hair of a "hated rival" to fall out, for which purpose it was necessary to boil together in oil the flower sepet= and a particular kind of worm, and get it put on the head of the rival. Against this, however, there was an antidote in the fat of the hippopotam= us, with which a boiled tortoiseshell had been pounded up, but then the head = must be anointed "very, very often."(1902b1)

$H Hak.

The Egyptian name of a kind of razor, which was shaped like an adze with a wooden handle. (1876c1)<= /p>

The mystical name of one of the planks of = the boat of souls, in the XCIXth chapter of the R= itual of the Dead. (1876c1)

A city and nome in Lower Egypt, the Heliopolis of the Greeks, sacred to the deity Atum or Atmoo, the god of the setting sun. (1876c1)

$H Haka.

An Egyptian officer who was at one and the same time chief of the worship of Apmateku, c= aptain of the soldiers, royal Heb, a= nd governor of a town whose name is lost. He lived about the time of the Vth dynasty, and was succeeded by his son Pthah-ases, who held the like dignities. (1876c1)

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

A name of the city of Memphis in Lower Egypt. (1876c1)

$H Hakar. Or Hagar. [See Hagar – Editor]

$H Hake. Egypt

An uncertain Egyptian deity, much resembli= ng Harpakrut, which see. (1876c1)

$H Haker. Egypt

A mystical viper in the fourth abode of Osiris, who is mentioned in the CLth chapter = of the Ritual of the Dead. (1876c1)

$H Hak-heb. Egypt

A sacred town in Up= per Egypt, where the god Horus was born and brought up by his mo= ther Isis. (1876c1)

$H Hakor.

The Egyptian form of the royal name of the second king of the XXIXth dynasty, which was written Achoris by the Greeks. (1876c1)<= /o:p>

$H Halakamir.

A king of the Himyari= tes about the first century A.D. He was succeeded by Yad= ail-Bayyin. (1876c1)

$H Halbard. [See Halbert - Editor]

$H Halbercum. [See Hauberk - Editor]

$H Halbert or Halbard.

Halbert. A footman's weapon in the form of a battle&= #8209;axe and pike at the end of a long staff.(1883m1)

Halbert,= or Halbard. A weapon much used in England during the Tudor and early Stuart period. It consisted of a long wooden handle with an axe and= a spike at the end. It was frequently ornamented with gilding and perforate= d in various shapes. Of the two cuts given below one represents a halbert of the time of Henry VII., the other a halbert of the time of Henri II. of France. The halbert subsequently became merely a weap= on displayed by royal body‑guards. Several of these weapons may be see= n in the armoury at the Tower of London. The halbert<= /i> was introduced into France in the 15th century by the Swiss and German mercenaries. As a charge in heraldry= it is always represented in pale. 2 ILLUS. halbert1, halbert2(1891a1)=

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

HALBERT. A weapon formerly much used by soldiers, which consisted of a pole ab= out live feet in length, surmounted by a head of steel, partly crescent-shape= d; it derives its name from the German words alle-barts (cleave-all), = which sufficiently indicates its use. It is first mentioned in the reign of Edw= ard IV., but the pole-axe was in use long prior to that period,** and may be considered as the prototype of this weapon, which took a great variety of fanciful forms, w= as occasionally decorated with gilding, the blade being frequently perforate= d with ornamental devices. It ultimately became a mere decorative weapon, to be = used for display in public ceremonials, and as part of the paraphernalia of home-troops, or palatial guardsmen. 2 FIGURES

**= Our cut exhibits two of the many forms, ornamental and otherwise, adopted for the halbert. Fig. 1 is a plain halbert of the time of Henry VII. Fig. 2 an ornamented halbert of the time of Henry II. of France. (1855f1)

$H Halbuda.

A mountain people on the borders of Media = and Susiana, who were conquered by Sennacherib. (1876= c1)

$H Halcyon and Halcyon Days.

Halcyon. The ancient name of the Alcedo or king‑fisher; hence –

Halcyon Day= s, i.e. the calm and peaceful season when the king‑fisher lays its egg= s in nests close by the brink of the sea; i.e. seven days before and as many a= fter the winter solstice.

"Seven winter dayes with peacefull calme possest Alcyon sits upon her floating nest." (Sandy's Ovid, Met. b. xi.)(1883m1)

$H Haldi.

The great deity of the people of Ararat in= the city of Muzagir. His shrine was plundered and his statue taken into Assyria by Sargon II., who thought thus the more effectually to break the power of the Armenian confederation. On the king of Assyria= attacking the town, Urzana the king, with all= his treasures, fled to the mountains, leaving the city an open prey. Himself escaped, but his wife, family, and the templ= e treasures fell into the hands of Sargon. (1876c1)

$H Haldia.

An Armenian deity, the local god of the ci= ty of Musa= ssir on lake Van, probably another form of the preceding deity. (1876c1)<= /o:p>

$H Haldile.

A petty kingdom in = Arabia, subdued for the first time by Esarhaddon, king ofAss= yria. (1876c1)

$H Haldita.

A Babylonian chief, the father of the rebe= l Arakhu, which see. (1876c1)

$H Half‑binding.

A description of boo= k‑binding in which only the back and corners of the book are covered by leather, the sides being in paper or cloth.(1891a1)

$H Half‑life size.

This term is used to describe figures in painting or sculpture standing about two feet nine in= ches high, or about half the height of a men of average stature.(1891a1)<= /o:p>

$H Half‑primed. Painting

(Paint.) A term appl= ied to a canvas which is only covered with a thin ground or priming (q.v.).(1891a1= )

$H Half‑timbered.

A term applied to th= e houses built during the reign of Queen Elizabeth, the front of which consisted o= f a wooden frame, filled in with white plaster. The beams were frequently elaborately and quaintly carved, and the plaster which filled the frame w= as sometimes moulded. Half‑timbered houses= are to be found in many towns of England, and are among the most picturesque specimens of domestic architecture to = be found in our country. An admirable example is afforded in London by Staple Inn. ILLUS. halftimb(1891a1)

HALF-TIMBERED. An architectural designation for a style of decorative house-building extensively practised in Europ= e in the sixteenth and seventeenth centuries; the foundations and principal supports were of stout timber, and all the interstices of the front of the building filled in with plaster, sometimes ornamentally moulded, the beams being frequently richly carved and stained, giving a singularly picturesque character to the whole. (1855f1)

$H Half‑tone. Painting

(Paint.) A tone inte= rmediate between two sharply‑marked tones of different values.(1891a1)<= /o:p>

$H Hall. Architecture

(Arch.) A salon of l= arge dimensions, generally lighted by a glass roof, which serves as a waiting&= #8209;room or a place of meeting for public or private bodies. In palaces and castles the hall is a very large saloon in which receptions take place. In this c= ase it is of the height of several stories and richly decorated.(1891a1)=

$H Hallecret See Allecret.

$H Halling. Old English

O.E. Tapestry.(1883m1)

$H Hall‑marks.

The Goldsmiths of London formed their company in 132= 7, and were incorporated by charter in 1392. The hall‑marks, in the order = of their introduction, are as follows: ‑ 1. The leopard's head, called= the king's mark. 2. The maker's mark, originally a rose, crown, or other embl= em with or without initials. 3. The annual letter, in the order of the alpha= bet from A to V, omitting J and U. This mark is changed every twenty years. 4. The lion passant, added in 15= 97. 5. Instead of the leopard's head (1) for the king's mark, the lion's head erased, introduced in 1697 when = the standard was changed, and, 6, a figure of Britannia substituted for the l= ion passant (4) at the same time. Pl= ate with this mark is called Britanni= a plate. The old standard (of 11 oz. 2 dwt. pure gold in the lb.) was resto= red in 1719. 7. The head of the reigning sovereign in profile, ordered in 178= 4, when a fresh duty was laid upon plate.(1883m1)

$H Hallowmas. Christian

Chr. The feast of All Souls, or the time about All S= ouls' and All Saints' Days, viz. the 1st and 2nd of November; and thence to CANDLEMAS, or the 2nd of February.(1883m1)

$H Halludus.

An early Elamite king. His statue was brought to Nineveh by Assurbanipal, after the Elamite conquest b= y the Assyrians. (1876c1)

$H Halmos. Graeco-= Roman

Gr. and R. A vessel of round form, supported on a ra= ised stand entirely distinct from the vessel itself; it was used as a drinking= ‑cup.(1883m1)

$H Halmote or Halimote.

The Saxon name for a meeting of tenants, now called = a court baron.(1883m1)

$H Halteres.

Halte= res (Gr. = 8J= D= ,H[=3Dhalteres]), in the gymnastic exerc= ises of the Greeks and Romans, were masses of lead, iron, or stone held in the hands to give impetus in leaping, or used as dumb‑bells.(1883m1)

$H Halule.

A city on the Tigris where Sennacherib defeated in one terrible battle Suzub and Merodach-baladin, kings of Babylonia, and Ummanmiman, king of Elam. (1876c1)

$H Halzia.

A city of Minni, de= stroyed by Assurbanipal after the defeat of Ahsera. (1876c1)

$H Ham.

(Scotch hame= ). A Saxon word for a place of dwelling, a home; hence "HAMLET." "This word," says Stow, "orig= inally meant the seat of a freeholder, comprehending the mansion‑house and adjacent buildings."(1883m1)

$H Ham= a.

Gr. and R. (= –:= 0[=3Dame] or Ÿ= :0[=3Dhame]). A bucket used for various purposes.(1883m1)

In ancient= Arabian mythology a species of screech owl, which flying round the tombs of the d= ead, kept them informed as to what went on among their relations in this world. These birds were also called Sada. (1876c1)

$H Hamanu.

A range of mountains to the North of Palestine, where Shalmaneser II. obtained timber for his palaces in Assyria. The= place is now called Amanus. (1876c1)

$H Hamades. Heraldry

(Her.) A French hera= ldic term applied to a design consisting of three barrulets, couped, that is to say, three diminutive bars which are cut= off short so as not to reach to the edge of the shield. ILLUS. hamades(1891a1)

$H Hamarani.

A tribe in Mesopota= mia, who were conquered by Tiglath Pileser II. (1876c1)

$H Hamarki.

The Accadian n= ame of a town or district, the site of which is not known. (1876c1)

$H Hamata.

The Assyrian governor pf the city of Suru, by the people of which he was killed. His dea= th was terribly avenged by Assurnazirpal. (1876c1)

$H Ha= mburg White. (See CARBONATE = OF LEAD, BARYTES.) (1883m1)

$H Hames or Heames. Heraldry

Her. Parts of horses' harness.(1883m1)

$H Hamhit. Egypt

A goddess spoken of on the stela of Mendes as &= quot;Hamhit the powerful one of Mendes, the wife of the = god in the temple of the ram, the eye of the sun, the lady of heaven, queen of a= ll the gods." She is represented with a fish on her head. ILLUS. Hamhit.(1902b1)

$H Hamiel.

In Cabalistic astronomy the angel of the planet Venus. (1876c1)

$H Hamka. Egypt

The Egyptian name of the red jasper stone, which was much used for the manufacture of amulets. (1876c1)

$H Hammer or Martel.

Hammer or Martel, Her. Represented much like an ordi= nary hammer.(1883m1)

Hammer. A tool used = in several branches of art for striking or beating. The hammer used by sculp= tors in marble consists of a block of iron almost cubical in shape, mounted on= a very short handle. The surfaces of this hammer, which is of considerable weight, soon get worn into hollows by constantly striking the chisel. The hollows thus formed are sometimes filled up with melted lead, which in its turn is replaced when it is worn out. Chasers of metal use a hammer with a large round head. It is by gently striking the graver and moving it after each blow that the flat spaces are obtained which accentuate the modelling of objects in metal. A small hammer is us= ed by engravers to beat out the metal at those places where it has been effaced= , so as to keep the surface perfectly horizontal. The plate is struck with the point and not the head of the hammer. 3 ILLUS. hammer1, hammer2, hammer3(1891a1)

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

$H Hammer‑beam.

Hammer‑beam. A transverse beam which projects some distance from the wall and serves as a support to a rafter. The hammer‑beam itself rests upon a concave rib springing from the wall. Hammer‑beams are always constructed in pai= rs, and their ends are often ornamented with grotesque heads and other curious devices.(1891a1)

HAMMER-BEA= M. A beam in Gothic architecture = which projects from the wall, and forms a sort of bracket support for the tie-b= eams of an ornamental roof. Hammer-beams never extend across an apartment; and their ends are commonly decorated with carvings, very frequently represen= ting angels bearing emblazoned shields.(1855f1)

$H Hammer‑work.

A method of making o= rnaments out of metal by striking it when cold with a hammer. A plaque of metal is= cut into the shape required, and the relief and modellin= g are beaten out with a hammer. The term is applied especially to silversmi= th's work, which is beaten with a hammer, and the surface of which is covered = with innumerable facets resulting from the operation.(1891a1)

$H Hammu.

In Egyptian mythology a kind of spirits who were often represented as adoring the rising sun. (1876c1)

$H Hammurabi.

= An= usurper king of= Babylon, of Kassite origin. He defeated Ri= msin, king of Larsa, and erected a capital city at a place then called Dindur, the name of which he changed to Bab-ili, the "Gate of God,&qu= ot; the Babylon of history. He erected or rebuilt a great temple there, called Bit-saggal, to the god Merodach, and dug a great canal named Hammurabi-nuhusnishi, "Hammurabi the Delight of Men." He then erected many great temp= les and a splendid palace, which was afterwards repeatedly restored by his successors on the throne of = Babylon. He also built a palace at Kilmed, near Bagdat, and a great tower to the deity Zamana near Hymer. Hamm= urabi further embanked the river Tigris with= a great wall, to restrain the inundations. The length of his reign is not known.

$H Hammur= abi-nuhus-nishi.

Hammurabi-nuhus-nishi= . "Hammurabi the Delight of Men." The name of the great canal excavated at <= st1:place w:st=3D"on">Babylon by Hammu= rabi. (1876c1)

$H Hampton Court Galleries.

COURT GALLERIES. The old palace= at Hampton Court contains one of the few public picture galleries of England. It is open every d= ay of the week except Friday (and including Sunday), from the hours of ten in t= he morning till six in the evening, from the 1st of April until the 1st of October, and the remainder of the year from ten until four. The collectio= n is of a very heterogeneous character, and is chiefly remarkable for the anci= ent portraits it contains, and the cartoons by Raphael. There are some histor= ic pictures which are very remarkable, such as the "Embarkation of Henry VIII. at Dover, 1520," and the "Meeting of Henry VIII. and<= /span> Francis I. in the Field of the Cloth of Gold," the "Battle of Spurs,= " "King Charles II. departing from Holland," &= amp;c., &c. The portraits number among them many very fine Holbeins, particularly a youthful portrait of Henry VIII., the most agreeable and b= eautiful of any he painted; the Princesses Elizabeth and Mary when young, are remarkable for the clearness and power of handling possessed by the artis= t; a curious full-length of the poetic Earl of Surrey; the king's jester, Will= Sommers; and many others of that time. Of Queen Eli= zabeth there are several curious portraits by Zucchero, Lucas de Heere, and Mark Garrard. Sir Antonia= More, Mytens Van Somer, Janette, Cornelius Janssen, and other portrait painters of the period, are well represented by their various works - many remarkable for artistic feeling, and all for a truthfulness which stamps their pictures with indelible interest. Vandyke, Rubens, and Gerard Hont= hurst, are also seen favourably; while Lely and Knel= ler shine to such advantage in the delineation of the beauties of the Courts = of Charles II. and William III., that their power= s are nowhere so well displayed as here. Independently of the portraits, there = are many other pictures scattered through the rooms which are excellent examp= les of the ability of the respective artists, and which would show to greater advantage unmixed with the inferior works by which they are surrounded.

The great featur= e of the collection, however, is the world-renowned cartoons by Raphael, which= he designed on paper for Leo X., as patterns for tapestries to adorn the Pal= ace of the Vatican, and to be exhibited in St. Peter's on a few great feast days during the y= ear. These cartoons, after being cut up at Brussels for the use of the tapestry workers, appear to have been neglected until = the time of Charles I., who purchased them, either at the instigation of Rube= ns, or the Duke of Buckingham. When the remarkable collection of works of Art formed by Charles I. was scattered by the civil wars, those cartoons, whi= ch that king had obtained chiefly to improve the manufactory he had establis= hed for making tapestry at Mortlake, were found p= acked carelessly away, and would have been sold with the rest had not Cromwell secured them for £300, intending to retain them for the same purpos= e, but the civil wars hindered this from being effected. At the restoration = of Charles II., that degenerate monarch sold them to the French Ambassador; = Lord Danby however interfered, and prevented their leaving the country. They w= ere, however, totally neglected; the pieces into which they were cut were stow= ed away in boxes, and in this wretched state they remained, until the attent= ion of William II. was directed to them, who built= the gallery at Hampton Court= , from the design of Sir Christopher Wren, expressly to receive them. The liberality of the king was, however, not equalled by good taste, for he engaged a very bad artist, named Cooke, to restore the injured pictures, an= d paid him a miserable sum for doing it. The "talent" displayed may be judged from the fact of Cooke having copied them anew for the Duke of Marlborough, himself a miserable judge of Art, and yet he was so disgusted with them that he consigned them to a garret at Blenheim. Walpole has well observed of William = III.: "His majesty patronised neither painters= nor poets; he fought battles, and not sought artists to commemorate them.&quo= t; He could understand the fame of the cartoons, and the regal credit of pos= sessing them; he was willing to locate them properly for this purpose; but he tac= itly allowed Cooke to put himself in the place of Raphael, and "restore&q= uot; - bedaub and destroy - the divine master's work.

It is the custom for most writers to launch into heroics when describing the cartoons at Hampton Court - to assert that as= they now exist they are the noblest works of Art the world possesses, and that= the fortunate spectator is to do no more than loudly admire. The truth is, we= look upon very little of Raphael's work except the noble design (and that has = been occasionally tampered with), the rest has been marred by Cooke's repairs. This is so visible that the merest tyro in Art, unbl= inded by prejudice, would be ashamed of owning the "divine" works; and any one who studies the fine cartoon of the "Murder of the Innocents," by Raphael, in our National Gallery, will at once see the mischief which has been done by the "restorations," and how very much superior it is in colour, drawing, and a= ll the requisites of high Art to those of Hampton Court. It is, in fact, totally different in all the essential qualities which constitute greatness. Cooke repainted them without knowledge or taste, and without any reference to t= he original design when portions had been lost, as in the case of the "= Death of Ananias" and the "Miraculous Draught of Fishes;" in the latter, the Saviour's robe, originally crimso= n, is now white, though the red shadow on the water still remains. In the "Beautiful Gate," the old man's head, over the figure of St. John, whose = forehead was wrinkled by age, has had these wrinkles converted into a broad fillet over the entire forehead, for which they were mistaken by Cooke. The &quo= t;Death of Ananias" was in so fragmentary a state, that nearly two feet of t= he upper portion has been lost altogether, and reproduced in a marvellously contradictory style to the original; a= nd "St. Paul and Barnabas at Lystra" was similarly tr= eated. The purest is "St. Paul at Athens;" yet all this work of Cooke's has been engraved and perpetuated as that of Raphael, without the slighte= st reference to the tapestries themselves, which have been constructed from these cartoons when in a perfect state, as Raphael designed them, and whi= ch are, therefore, the only exponents of his ideas in their original purity. Many portions of the cartoons at Hampton Court display his power, and generally they denote his wonderful design; but no educated eye can look with any other feeling than disgust at the daubs which cover his work, and destroy the proper contemplation of their beauty. Raphael re-coated by Cooke is the v= ery converse of the fable of "the Ass in the Lion's skin." (1855f1)=

$H Hamset.

A royal personage of the Vth dynasty. He was the son of Kaa, the chief of = the royal works of a king of that period. (1876c1)

$H Hamus or Hamulus. A fish‑hook.(1883m1)

$H Han.

Han. "The Vase." A game of skill = among the ancient Egyptians. It was played by two people, having a number of pi= eces of terra cotta or ivory, which moved on a circular board marked with concentric lines. Its rules are unknown. (1876c1)

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

A son of King Nofre-h= otep, of the XIIIth dynasty. (1876c1)

$H Hananu.

An Assyrian governor, in the reign of Sarg= on II. The name of his district is lost; but he was the eponym of the year B= .C. 701, the chief event in which was an expedition to Palestine. (1876c1)=

$H Hanap.

HANAP. (Ger.) A covered drinking cup of metal with an elongated stem. The German goldsm= iths of the fifteenth and sixteenth centuries particularly excelled in their manufacture. (1855f1)

Hanap. A drinking cu= p of large size which stands upon a foot. Some hanaps have richly chased lids, which are masterpieces of decorative art. In the Middle Ages hanaps were made of precious metals, assumed various forms, and were richly ornamented. 2 ILLUS. hanap1, hanap2(1891a1= )

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

$H Hanaper. Old English

O.E. (Mod. h= amper). A wicker basket. (Fig. 376.) Writs in the Court of Chancery were thrown i= nto such a basket (in hanaperio),= and the office was called from that circumstance the Haniper Office. It was abolished in 1842. Fig. 376. Hanaper.(1883m1)

$H Hanaziruka.

A king of the Medes, who was defeated with= the loss of 2,300 of his men, his capital city, and 1,200 villages, by Samsi-Vul or Samas Rimmon III. (1876c1)

$H Hand. Christian

Hand. In the symboli= sm of early Christian art a hand in the attitude of benediction frequently represents the Almighty Father. Our cuts show a hand in the act of benediction, as it was conceived in the mystic symbolism of the Latin and= Greek Churches respectively. ILLUS. hand(1891a1)=

HAND. In Christian Art a hand is the i= ndication of a holy person or thing, and frequently occurs in pictures representing martyrdoms, as extended from a cloud over a saint. M. Didron has engraved, in his Iconographie Chrétie= nne, a curious representation of the souls of the righteous in the hand of God, under the form of a group of tiny nude figures, grasped in a gigantic han= d issuing from the clouds. A hand in the act of benediction is frequently met with = in early Christian Art, and generally represents the Almighty Father. Previo= us to the twelfth century, the Supreme was always represented by a hand exte= nded from a cloud, sometimes open, with rays proceeding from the fingers, but generally in the act of benediction - viz., with two fingers raised and t= he rest open. The representation of the divine benediction is not the same w= ith the Greek as with the Latin Church, nevertheless, we can easily discover = the thought concealed under this double symbolic form. In the Latin Church th= e index and the middle fingers are extended, the two others are bent and shut against the palm of the hand; thus is indicated the three august persons = of the Trinity, (Fig. 1.). The Greeks extend the index, bend the middl= e, crossing the thumb upon the ring<= /i> finger, and bend the little f= inger, thus forming the four letters of the Greek alphabet which compose the monogram of Jesus Christ. The ind= ex finger represents the I, iota; the middle = the ancient sigma, C; the ring and the thumb, the chi, X; finally, the little finger, the sigma, Σ. - ΙΣΧΣ (Fig. 2.). The hands of our Saviour, pierced, were frequently represented in sculpture and painting. The wound= on the right hand is termed in old devotional books the Well of Mercy, and that on the left the Well of = Grace. * FIGURES

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

$H Handkerchiefs.

Handkerchiefs embroidered in gold were presented and= worn as favours in the reign of E= lizabeth. Paisley handkerchiefs were introduced in 1743.(1883m1)

$H Handle.

Handle. The projecti= on placed on the neck or body of a vase that it may the more easily be taken hold of. The handles of decorative vases are often of considerable size, = and, in addition to their practical object, they serve the purpose of breaking= the outline and of affording an opportunity for decoration. ILLUS. handle(1891a1)

Handle. Gen. In antiquity the leaves of a door were = fitted with handles like those of our own day. Fig. 377 represents a bronze hand= le consisting of a double ring. Of these, the inner one could be raised so a= s to allow a person's hand to take hold of it, and draw the door his own way. = This work of art is at the present time in the Museum of Perugia= . = Fig. 377. Bronze door‑handle. Roman.(1883m1)

$H Handling. Architecture

HANDLING i= s the manner of execution by which the artist produces FINISH; it is the method of manipulation peculiar to each artist in the use of his pencil. The handli= ng, or execution, of Rubens differs greatly from that of Rembrandt, or Tenier= s, or Guido, and it should differ with the same artist, according to the size, style, and treatment of the subject; still a broad and free method of handling is not incompatible with extreme delicacy. (1855f1)

$H Handrail. Architecture

(Arch.) A moulding of wood or iron convex in outline sometime= s with a sharp edge slightly projecting, which is placed upon stair‑rails = or balconies to form a support. Handrails are made of variously‑coloured woods and are varnished and sometimes inla= id. ILLUS. handrail(1891a1)

$H Handruffs. O.E. Ruffles.(<= /span>1883m1)

$H Hand‑screen.

A small light provid= ed with a handle. Hand‑screens generally consist of a light frame of wood or iron‑thread, on which is stretched a piece of satin, decorated with paintings in gouache (q.v.). The Japanese manufacture hand‑screens = in large quantities, using for the purpose bamboo canes, which they split and stretch out in the shape of a fan and then cover with drawings admirable = in colour and decorative in effect. ILLUS. handscre(1891a1)

$H Handseax. The Anglo‑Saxon dagger.(1883m1)

$H Handur.

A district bordering on Assyria, ren= dered tributary by Samsi-Vul or Samas-Rimmon III. (1876c1)

$H Hanebu.

The Egyptian name for the Ionians or Greek= s. (1876c1)

$H Hanen.

Another form of the Egyptian name for the = land of Ionia. (1876c1)

$H Hanger, Hangers or Carriages. Old English

Hanger. O.E. A small sword worn by gentlemen with mo= rning dress in the 17th century.(1883m1)

Hangers or Carriages. O.E. Appendages to the sword&#= 8209;belt from which the sword hung, often richly embroidered or jewelled.(1883m1)<= /p>

HANGERS. T= he band or strap affixed to the girdle or belt, and to which the sword was hung. = The sword so suspended was also termed a hanger. (1855f1)

$H Hanging Committee.

In the arrangement o= f public exhibitions a committee of artists, which goes by the name of the "hanging committee," is charged with the duty of hanging the pictures selected on the wall space at their disposal. The hanging commit= tee at the Royal Academy consists of eight academ= icians ‑ six painters, one sculptor, and an architect. The latest elected academician is always one of the committee as a matter of course, and the others are chosen from the council of the Academy in turn. The duties of a hanging committee are extremely delicate, and it is not surprising that complaints on the part of disappointed artists are frequently and loudly expressed.(1891a1)

$H Hangings.

Strips of painted pa= per or stuff placed side by side and so arranged as to cover the surface of a wall. In= the Middle Ages and up to the 17th century tapestries and strips of leather w= ere used as hangings.(1891a1)

HANGINGS. The term anciently applied to = tapestry, as well as to the cloths of gold and needlework used to decorate the chur= ch. (1855f1)

$H Hanhar. Egypt

A title of an Egyptian deity corresponding= to the Ares of the Greeks. He was also called Onouris and Anhur, which see. (1876c1)

$H Hani.

A king of Samala, in Mesopotamia. He came to the assistance= of Ahuni, king of Lahlahte, against Shalmaneser II., by whom he was utter= ly routed. (1876c1)

$H Hanirabbat.

A district West of Assyria, near the Upper Euphrates, which submitted without a battle to Tiglath Pileser I., and where in later times Esarhaddon defeated his two brothers, Assurmalik and Sharezer= , and compelled them to fly into Armenia. (1876c1)

$H Ha-nofre-t.

A daughter of Rameses= -Miamun, of the XXth dynasty. (1876c1)

$H Hanruta.

The Egyptian name of the Syrian river Orontes. (1876c1)

$H Hanselines. (15th century).= Loose breeches. (See SLOP.) (1883m1)

$H Hant.

An Egyptian lady, the wife of Urshu, the superintendent of the boatmen of Amen Ra. (1876c1)

$H Hanun I.

A king of Gaza, who paid tribute to Tiglath Pileser I. (1876c1)

$H Hanun II.

A king of Gaza. He attempted to defy Tiglath Pileser II.,who defeated and dro= ve him into Egypt, occupying and plundering the country; after which Ha= nun, unable to obtain assistance from Pharaoh, submitted and paid tribute to t= he Assyrians. (1876c1)

$H Hanun III.

A king of Gaza. He combined with Sibahe, king of Egypt, to re= sist the demands of Sargon II., king of Assyria, who met him at Raphia, on the borders of Pal= estine and Egypt, and utter= ly defeated him, carrying him a captive to Nineveh. (1876c1)

$H HANUT. See Ha-shaat. (1876c1)

$H Hap. Egypt

Name of the sacred bull at Memphis. (See APIS.)(1902b1)

An Egyptian city, the Uu of the fourth nome of(?) Upper Egypt.(1876c1)

$H Hapentmat.

The mother of King Sn= efru, of the IIIrd dynasty. (1876c1)

$H Haphe.

Gr. and R. (= N= ¬[=3Daphe] i.e. a grip). The yellow sand with which wrestlers sprinkled themselves o= ver after having been rubbed with oil. The object of this sprinkling was to enable the wrestlers to take a firmer grasp one of the other.(1883m1)

$H Hapi. Egypt; also see Apis

The mystical name of one of the planks of = the boat of souls, in the XCIXth chapter of the Ritual= of the Dead. (1876c1)

The Digger, one of the four genii of the d= ead. He was represented as a vase having a monkey's head as a cover. Upon the = vase was often inscribed a prayer to the goddess Nephthys= . See Amse= t, and Cano= pic Vases. (1876c1)

1. The Nile deified under the form of a h= uman figure, partly male and partly female. In his hands are sometimes seen a table of offerings upon which are lotus flowers and libation vases, while= on his head is a bunch of lotus flowers. ILLUS. = Hapi.(1902b1)

2. One of the four sons of Horus, the funerary genii who also represent the = four cardinal points, and were protectors of the four can= opic jars (q.v.). He is represente= d with the head of a cynocephalus. (See<= /i> AMSET.)(1902b1)

$H Hapi-Ankh. Egypt

Hapi-Ankh. "The Living Apis." The name under which the deity Apis was worshipped in the town of Ha-shaat, and at Mem= phis in Lower Egypt.

$H Hapimou.

The god of the Nile= . He was generally represented as a very corpulent man, holding an altar wi= th wild birds, and with his head crowned with lotus flowers and papyri. He w= as sometimes painted red, to represent the water of the Nile when muddy at the time of the annual inundations, or green, the usual sha= de of the water at the other seasons of the year. (1876c1)=

$H Hapi-u.

An Egyptian gentleman, the father of the l= ady Set-ap, which see. (1876c1)

The wife of Atef-neb-ma, and mother of Merira an = Egyptain captain, which see. (1876c1)

$H Hap-mu= .

The father of Ouaphre= s, or Uaprahet, which see. (1876c1)

$H Hap-tek.

Another name of the Egyptian princess Mer-tetes, which see. (1876c1)

$H Hapu.

An Egyptian lady, the wife of Iri-sen-aker, an early Egyptian officer, which see. (1876c1)

$H Haqueton, Acketon. [See Acketon - Editor]

HAQUETON, ACKETON. In armour, a quilted tunic or un= der garment of buckskin wadded with cotton, worn as a de= fence by those who could not afford hauberks, and by persons of distinction to protect the body from the pressure of steel harness, and sometimes in lie= u of it by them also; it was ornamented by being stitched with silk and gold thread. †

&#= 8224; See also GAMBES= ON, to which it assimilated. (1855f1)

$H Haqu-ra-neb-ma.

A variant form of the prenomen Ra-ma-neb, of Amenhotep= , III. of the XVIIIth dynasty. (1876c1)