$H Hibe. Egypt

The capital city of the great oasis in the= Libyan desert. It is now called El Khargeh. It is famous for a temple of the deity Amen Ra, which must not be confoun= ded with that in the oasis of Ammon further North. (1876c1)

$H Hiberna or Hyberna.

R. A winter apartment. The halls in a Roman country = house were built to face different ways according to the seasons; verna and autumnalis looked to the east; hyberna, to the west; aestiva, to the north.(1883m1)

$H Hidage, Hidegild.

A.S. A tax payable to the Saxon kings of England for every hide of land. The word is indifferently used to signify exemption from such a tax.(1883m1)

$H Hi= dalgo.

(Span. hijo = d'algo, son of somebody). An obsolete title of nobility in Spain.(1883m1)

$H Hieracon. Egypt

A chief town in the A= pollinopolite nome of the Thebaid, in Upper Egypt. (1876c1)

A chief town of the A= ntaeopolite nome of the Thebaid, East of the river Nile. (1876c1)=

$H Hie= rapolis. Phoenicia

. "City of = Priests."<= /span> The Greek name o= f the Phenician city Bambyce,= which see. (1876c1)

$H Hierasycaminon.

A Greco-Egyptian town in the Dodecaschaenon, a district of = Nubia. (1876c1)

$H Hieratic. Egypt

Hieratic. hieratic: (the 'priestly' script) an earlier cursive writing, with reed pe= n on sherd or papyrus, of the monumental hieroglyp= hics. (1894e1)

Hieratic. A less defined and more cursive a form of = the Hieroglyphic script, from which it differs chiefly in the number of the characters employed being more limited, and of those characters themselves only the essential parts being indicated, the whole of the signs drawn in outline. The Hieratic script was principally used for state documents and scientific papyri, such as the great Harris papyrus of Rameses III. and t= he Ebers medical papyrus. It was rarely used for lapidary purposes; and, owi= ng to its varying very much in its beauty and accuracy with the care of the scribe, it is a very difficult style of Hieroglyphy to translate. Towards= the Greco-Egyptian or Ptolemaic period, the Hieratic gave way to a still more cursive form of writing called the Demotic, which was corrupted from it; = but this latter form of character was never highly valued, and as it was only= in use among the lower classes, and for the most ordinary purposes, it soon degenerated into a simply unintelligible scribble. (1876c1)

Hieratic. The cursive form of writing the Egyptian language, and used chiefly on papyri= and wooden coffins. The characters are usually written from right to left, and very rarely in columns as hieroglyphs are so often engraved. How early hieratic came into use is unknown, but fragments of papyri inscribed with these characters have been found in the ruins of the VIth Dynasty town at Elephantiné. The oldest hieratic document is the Prisse Papyrus (Bibliothèque Nationale<= /span>, Paris), dating from about the XIth Dynasty. T= his script was in use until the fourth century A.D. ILLU= S. Hieratic. (1902b1)

$H Hieraconpolis. Egypt

The Greek name for Nut-ent-bak, capital of the twelfth nome of Upper Egypt, the modern Kau el Kebîr. Chief deity, Horus.(1902b1)=

$H Hieroglyph. Egypt

Hieroglyphs. The hieroglyphic character employed by the Egyptians was originally pictorial, a form it retained more or less in the case of stone-cut inscriptions until a late date. The invention of this script was attribut= ed to the god Thoth. By about 300 A.D. all knowledge of the meaning of the characters had died out, and it was not until the discovery of the Rosetta Stone (q.v.) in 1799 that any= real progress was made in their decipherment. We now know that the signs are of two kinds, those representing sounds and those representing ideas - calle= d phonetic and ideographic. Of the former, the phonetic characters, there are two kinds, the alphabetic and= the syllabic. The ideographic signs = are pictorial representations of the objects spoken of, which are placed after the phonetically written word to "determine" it, and hence they= are determinatives. Determinative= s are of two kinds, generic and specific, the former being determinative of a class - as for instance the picture of the hide of an animal, indicating merely an animal - the latter of a particular object. = The texts read either from right to left, or from = left to right, or are arranged in columns, there being no rule. The text comme= nces from the side towards which the bird and other animal characters are faci= ng. There are about 500 characters in frequent use. Many of the syllabic signs are polyphonous. The cursive form of the hieroglyphic script is called hieratic (q.v.). In later times this cursive form degenerated into a much simpler character called demotic. (See SETEN-HETEP-TA.) ILLUS. THE ALPHABET.(1902b1)

$H Hieroglyphic.

hieroglyphics= = : the picture writing of the ancient Egyptians.(1894e1)

HIEROGLYPH= IC. This term, derived from the Gr= eek and literally signifying sacred sculpture, which properly belongs to the pictorial language of the ancient Egyptian priesthood, has been, however, constantly applied to any delineation which, representing one subject or action, typifies another; = or carries with it a hidden meaning. Hence symbols and symbolic arts of all kinds have been called hieroglyphic. (1855f1)

Hieroglyphic. Painte= d or engraved letters used among the Egyptians. They consist of typical representations of figures, animals, stars, plants, &c., and form a distinct pictorial language. As a general term hieroglyphic is used to de= note any kind of writing which bears a symbolic meaning. ILLUS. hierogly(1891a1)

Hieroglyphics, Egyp. (= Ê,= DÎ= H[=3Dhieros], sacred, and (8= bN= T[=3Dglupho], to carve). Characters of Egyptian writing, the letters of which are figurative or symbolic. There are three kinds of Egyptian writing, the hieroglyphic, the hieratic, and the dem= otic. Clement of Alexandria says that in the education of the Egyptians three styles of writing are taught: the first is called the epistolary (enchorial or demotic<= /i>); the second the sacerdotal (hieratic), which the sacred Scri= bes employ; and the third the hierogl= yphic. Other nations, as for instance the ancient Mexicans, have likewise employ= ed hieroglyphics.(1883m1)

Hieroglyphic. "Sacred Writing." The name g= iven by the Greek writers to the peculiar script employed by the ancient Egypt= ians, which consisted chiefly of pictorial representations of various animate a= nd inanimate objects, used either phonetically, syllabically, or as ideograp= hs expressive of certain ideas. Of these, together with certain other signs which were used as determinatives of expressions or ideas, there were no = less than 960 different forms, but no two of them were exactly analogous in appearance, and only a limited list was resorted to for ordinary purposes, the other varieties being employed chiefly for the sake of effect or differentiation. In sculptured monuments the Hieroglyphics are either in bas-relief or a kind of hollow-relief, cut below the surface, from a line= to an inch deep, the outline alone being on the surface, and the details elaborately carved at the flat at the bottom, according to the requiremen= ts of the monument. This style of art, while it distinctly rendered the outl= ine on the surface, by its giving all the details below, effectively protected the texts from the hazard of injury or the ravages of time. The coloured Hieroglyphs are also divisible into two distinct classes; the monochromat= ic, and the polychromatic or those which rendered with more or less fidelity = the colour of the objects they were intended to depict, employing blue for the heaven and celestial objects; red for the sun, the earth, the tint of the Egyptian skin, and the clay from which mankind sprang; yellow for the moon and objects of wood and brass; green for trees, bronze, and herbage; while animals were painted in their proper colours as nearly as the conventional style of art admitted, the lion yellow, the hippopotamus black, the wasp yellow, and fishes blue and red. It was in the scribe's power, and on tho= se public monuments where the Hieroglyph became an architectural decoration = he by no means neglected it, to make each Hieroglyph a little miniature of t= he object it represented, and the temple and the tomb alike glittered with t= he vivid colours of these pictorial arabesques. For the mass, however, of monuments, the scribes were less ambitious in the display of colour. On m= any coffins and objects where polychromatic Hieroglyphs are used, the scribe seems to have exhausted the resources of an ill-furnished palette, and to have placed inappropriate colours on different parts of the dress or form= . As the great mass of coloured Hieroglyphs are in monochrome, or only relieve= d by a single colour, the polychromatic texts throw great light on the objects represented by many Hieroglyphs, which would otherwise remain obscure. Th= e chief monochromatic colours were: - black, in fashion during the IVth and follo= wing dynasties, and still later for inscriptions incised on alabaster; blue, t= he celestial and favourite colour of the Egyptians, very prevalent at all ti= mes, particularly during the XIIth and XVIIIth dynasties; green, used under th= e XIIIth; and yellow, which came into use at the close of the XVIIIth and continued till the XXth dynasty, the type of religious dissension or caprice. The disposition of the Hieroglyphics is very different, according to their employment. When used in isolated words explanatory of persons and objects represented, they are distributed promiscuously in the field, either in horizontal or vertical groups, or both combined. More careful inscriptions have them marshalled in vertical or horizontal lines, each being separated and defined by a broad straight line. One rule was always observed by the scribe: all animals and other objects which comprise the same group or sentence were made to face in the same direction. As a general practice, = that of the characters facing to the right was preserved, agreeably to the gen= ius of Semitic languages; but there were many exceptions, due chiefly to arti= stic considerations. The Hieroglyphics were also generally read from the direc= tion in which they faced. Thus, when all faced to the right, the reader commen= ced with the first object on the right; when they faced to the left, with the first object on the left hand. (Birch, in Bunsen's Egypt's Place in Universal History.) = (1876c1)

&nbs= p;

$H Hieromancy.

Gr. and R. Divination from sacrifices.(1883m1)

$H Hieron.

Gr. (= Ê,= DÎ= <[=3Dhieron], i.e. holy place). The whole of the sacred enclosure of a temple, which enclosed the woods, the building, and the priests' dwelling‑place.(= 1883m1)

$H High Altar. Architecture

(Arch.) The principa= l altar in a church which contains more than one altar is termed the high altar, = in contradistinction to the low = or lesser altars.(1891a1)

$H High Art.

HIGH ART. That elevated style which esch= ews the slightest attempt at meretricious display, but satisfies the requirem= ents of the most rigid connoisseur; which can challenge and disarm criticism by its possession of innate excellence. Such works are necessarily rare. In ancient Art, we find them in = the "Elgin Marbles;" in mod= ern Art, in Raffaelle's cartoons; these are familiar instances, but are so incontrovertible that they may be taken as the standards by which to judge high Art in sculpture and painting. (1855f1)

$H High‑light. Painting

(Paint.) The high= 209;light in a picture is that spot which appears to the eye to be of the greatest brilliance. It is always a reflected light and is consequently only found= on such surfaces as reflect and do not absorb the light. A high‑light,= for instance, may be upon a burnished metal plaque or in the eye, but it is n= ever seen upon dull, heavy textures.(1891a1)

$H Highly‑coloured. Painting

(Paint.) Over‑= coloured; painted in bright, crude colours.(1891a1)

$H High‑relief. Sculpture

(Sculp.) A piece of sculpture executed upon the flat surface of a block, from which it projec= ts so far as to resemble a sculpture in the round. Sometimes indeed a high&#= 8209;relief has only a few points of contact with the surface of the block from which= it is cut, and for the rest is entirely detached. The finest high‑reli= efs in existence are the metopes of the Parthenon= , some of which are among the Elgin marbles at = the British Museum. ILLUS. highreli(189= 1a1)

$H High‑warp (Tapestry).

High‑warp. Tha= t kind of tapestry in which the warp is arranged vertically. Technically speaking high‑warp tapestry is superior to low‑warp (q.v.). The tapest= ry manufactured at the Gobelins is high‑wa= rp.(1891a1)

High‑warp Tapestry. Made on a loom, in which t= he warp is arranged on a vertical plane, as the Gobelins. Low‑warp tapestry is made on a flat loom, as at Aubusso= n, Beauvais, and o= ther places. It is made more rapidly, and is inferior in beauty to the former.(1883m1)

$H Hik. Egypt

A surname of Amenhotep III. of the XVIIIth dynasty. (1876c1)

$H Hik-ma-mi-amun. Egypt

The surname of Rameses III. of the XXth dynasty. (1876c1)

$H Hik-nekht. Egypt

An early Egyptian scribe. Period uncertain. (1876c1)

$H Hik-ten. Egypt

A surname of Rameses<= /span> III. of the XXth d= ynasty. (1876c1)

$H Hik-ten-res.<= span style=3D'mso-spacerun:yes'> Egypt

The surname of King Tut-ankh-amen of the <= span class=3DSpellE>XVIIIth dynasty. (1876c1)

$H Hilaria.

A great Roman festival in honour of Cybele, celebrat= ed at the vernal equinox. It consisted chiefly of extravagant merry‑makin= g to celebrate the advent of spring.(1883m1)

$H Hilary, St.

HILARY, ST. A bishop, born at Poitiers, noted = for his constant opposition to the heresies of the Arians. He is usually represented in pontificals, bearing three books indicative of thos= e he wrote against that sect; or treading on serpents, in allusion to his miraculous power of banishing them from an island uninhabited by reason o= f their presence; or with a child in a cradle at his feet, allusive to his restor= ation of one to life. <= /span>

There is a= nother St. Hilary (of Arl= es), who has also the serpents as an attribute, in allusion to his triumph ove= r sin; but he is generally represented with a dove over his head, or at his ear;= and sometimes as consecrating a nun. (1855f1)

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

In Scandinavian mythology the name of the chief of the goddesses of fate or Walküres, which see. (1876c1)

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

Hilka-besha. "Go away,= Evil One." Two magical incantational phrases which were used= by the ancient Chaldeans, and continued afterwards as a mystic formula by the Alchemists of the Middle Ages, to whom their meaning was unknown. (Lenormant.) (1876c1)

$H Hillat.

Hillat. "The Prof= ane City." The name given by the Chaldeans to that quarter of Babylon which was peopled by the vari= ous captives taken in the wars of Nabukuduruzur. = The site is now called Hillah, which now includes the ruins of the whole city. (1876c1)

$H Hilt.

HILT. The handle of a sword made of various materials, such as ivory, wood, gold, o= r silver, and inlaid with precious stones; the ancients usually displayed considera= ble talent in designing them.** = FIGURE

**= The cut represents an ornamental Roman dagger, from Montfaucon's great work on Classic Antiquities. (1855f1)

$H Himation. Greek

Himation. A garment = worn by the Greeks, consisting of a square mantle which was thrown over the left shoulder and fastened by a brooch, leaving the right arm free. To wear th= e himation with grace and ease was a mark of gentle b= irth and refinement. ILLUS. himation(1891a1)

HIMATION. = (Gr.) In Grecian costume, was a l= arge square garment generally drawn round from the left arm, which held it fast, acro= ss the back, and then over the right arm, or else through beneath it, towards the left arm. † &#= 8224; See cut to DIPLOIS. The good breeding of the free-born, and the manifold characters o= f life were recognised by the mode of wearing the HIMATION, still more than in t= he girding of the CHITON. It may be considered as an enlarged chlamys of the form in which it is shown in our engraving, but identical with the palliu= m, and worn as exhibited in our cut illustrative of that word. The HIMATION = of women had, in general, the same form as that worn by men; a common use therefor= e, might have existed. The mode of wearing it likewise followed the same gen= eral fundamental rules; only the envelopment was usually more complete, and the arrangement of the folds richer. The Roman toga was an Etruscan form of t= he HIMATION, which gradually received among the Romans an ampler and more solemn, but also clumsier, development; destined at the beginning for distinguished public life, it afterwards lost its significance, and was forced to make way for more convenient Grecian apparel of all kinds, but which have little significance in Art. The toga was distinguished from th= e HIMATION by its semi-circular shape, and its greater length, which caused its ends= to fall on both sides down to the ground in considerable masses. FIGURE (1855f1)

&nbs= p; &= nbsp; Cut to Diplois:

$H Himi.

A district north of Assyria, which was conquered by Tiglath Pileser I. (1876c1)

$H Himyar. "The Red."

The son of Abdshems, king of Yemen. He founded the Himyarite dynasty, which gradu= ally changed the name of the people of the country from S= abaeans to Himyarites. The true name of Himyar was Ghazahadj. (1876c1)

$H Hind. [See Hart – Editor]

$H Hindana.

A kingdom or district in Mesopotamia which paid tribute to Assurnazirpal. (1876c1)=

$H Hindanu.

A city in the Euphrates near to its juncti= on with the Khabour, which was conquered by Assurnazirpal, king of Assyr= ia. (1876c1)

$H Hindaru.

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

$H Hinge.

Two pieces of metal,= or movable wings, about a common axis, which allows them to describe a rotatory movement. Our first cut represents a sampl= e of the commonest pattern. Sometimes, however, hinges are more decorative. On cupboards and other pieces of furniture belonging to the last century they are found with their shank terminated by a small vase or button or even b= y a more elaborate ornament. Our second cut gives an example of this. = 2 ILLUS. hinge1, hinge2(1891a1= )

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

$H Hinthial. Etruria

The Etruscan word for "ghost" or "shade." (1876c1)

$H Hip‑knob.

Hip‑kno= b. An end ornamen= t or finial placed on the point of a gable or on the top of a hip.(1891a1)

HIP-KNOB. The ornament placed at the point of junction where the sloping sides of a roof meet, or the summit of a gable. In ecclesiastical edifices it takes the form of a cross, often richly and fancifully foliated. In civil architecture it occ= upies the central point or pinnacle of a gable, where the barge-boards or verge-boards meet; the lower portion in such an instance very generally f= orms a pendant ornament, but sometimes springs from a corbel. (1855f1)<= span style=3D'mso-ansi-language:EN-US'>

$H Hippocampus.

Hippocampus. Gr. and R. A fabulous animal, which had= the fore‑quarters of a horse ending in the tail of a dolphin. [It is imitated from the little "sea‑horse" of the Mediterranean, now common in aquariums; and in mural paintings of = Pompeii is represented attached to the chariot of Neptune<= /st1:place>.](1883m1)

HIPPOCAMPU= S. (Gr.) A fabulous monster, composed of the head and fore-quarters of a horse attached to the tail of a dolphin, or other fish; it is seen in Pompeian paintings attached to the marine chariot of Neptun= e. FIGURE= (1855f1)

$H Hippocentaur.=

Hippocentaur. A fabulous animal, composed of a human= body and head attached to the shoulders of a horse. (See also CENTAUR.)(1883m1= )

Hippocentaur. A mons= ter half horse, half man. The hippocentaur does not di= ffer from the centaur (q.v.), and the term is used in contradistinction to ichthyocentaur, or fish‑centaur. ILLUS. hippocen(1891a1)

HIPPOCENTAUR. (Gr.) A fabulous animal, composed of the body of a horse, in which the head and neck is displaced by the upper portion of a human being, male or female. The stor= y of Ixion gives the classic = mythologic history of their supposed origin; but the more rational one is that which refers it to Thessaly, where the inhabitants first tamed horses, and trai= ned them to the chase, man and horse becoming one in movement. Examples are f= requently met with in ancient remains. * <= /b>FIGURE

* = Our cut is from a bas-relief engraved by Montfaucon. (1855f1)

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

Chr. A fantastic animal, half horse and half stag; it personifies the pusillanimous man who throws himself without reflection i= nto uncertain paths, and soon falls into despair at having lost himself in them.(1883m1)

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

Gr. Festivals held in Arcadia in honour of Neptune, who, by striking the earth with his trident, had given birth to the horse.(1883m1= )

$H Hippodrome and Hippodromus<= /span>.

HIPPODROME= . (Gr.) A race-course for horses and chariots. A raised wall or bank of earth was constructed down its centre,= so that the horsemen or charioteers were compelled to pass down one side, tu= rn, and then go up the other, in their course to the goal. (1855f1)

Hippodrome. Among th= e Greeks a circus of large dimensions and oblong form, terminated at one end by a circle arranged for chariot and horse races. In some respects it resembled the Roman circus (q.v.), a raised wall being constructed down the middle, round which the horses or chariots had to turn.(1891a1)=

Hippodromus, Gr. and R. The Greek name for an arena = for horse and chariot races, in contradistinction to the stadium, which served for foot‑racing. Fig. 386 represents the hippodrome at Olympia, taken from Gell's Itinerary of the Morea. The foll= owing is the key to the plan: ‑ 1, 2, and 3 are carceres; A, the space included between the stalls or carceres; B, starting‑plac= e for the chariots; c, the colonnad= e; D, the arena; E, the barrier; F, the goal; G, the space occupied by the spectators. [The word was also applied to the races themselves.] (See also CIRCUS.) Fig. 386. Ground‑plan of a Hippodrome.(1883m1)

<= /o:p>

$H Hippogriff or Hippogryph.

Hippogriff. A fabulo= us animal; a winged monster, half horse and half griffin.(1891a1)=

Hippogryph. A mythical animal represented as a winged horse with the head of a gryphon<= /i>.(1883m1)

$H Hipponon. Egypt

A chief town in the C= ynopolite nome of the Heptanomos or Middle Egypt. (1876c1)

$H Hipponus. Egypt

The Greek name for Het-bennu, the capital of the eighteenth nome of Upper Egypt, the modern El H= ibeh. Chief deity, Anubis.(1902b1)

$H Hippopera.

Gr. and R. (= ÊBB= @‑B= ZD= "[=3Dhippo‑pera]). A saddle‑bag for travellers on horseback. (See ASCOPERA.)(1883m1)

$H Hippopod.

A fabulous monster. The figure of a man with the legs of a horse used in the composi= tion of arabesques on friezes.(1891a1)

$H Hippotoxotes.=

Hippotoxotes (= ÊBB= @‑J= @>= `J= 0H[=3Dhippo‑toxotes]). A mounted archer. The Syrians, Persians, Medes, Greeks, and Romans had mounted archers among their light cavalry.(1883m1)

$H Hip‑roof. Architecture

(Arch.) A roof the sides of which slope = in different directions and meet at the ridge is called a hip‑roof. The external angle formed by the two sides of the roof is termed the hip, and the timbers in the hip are termed the hip̴= 9;rafters. ILLUS. hiproof(1891a1)

$H Hiram. Tyre

Another king of Tyre. He = was one of the many Syrian princes who were subjugated by Ti= glath Pileser II. after = the battle of Khummuha. (1876c1)

$H Hiram I. Tyre

A king of Tyre, by whose assistance David, king o= f Israel, was enabled to collect materials= to construct the royal pal= ace of Jerusalem. He = was succeeded by his son Abibaal. (1876c1)

$H Hiram II. Tyre

King of Tyre. He was the son and successor of Abibaal, and according to the Gr= eek historians the siege of Troy= took place in his reign. The people of Kitium= , in the Isle of Kyproi, having rebelled against h= im, he attacked and subjugated them in person. Returning to Tyre, he = almost re-built the city, and re-erected with extreme splen= dour the national temple of the deity Melkarth, wh= ich had been founded 1000 years before. He built also a temple to the sister deity Ashtaroth, and united the sacred island of Melkareth with the larger one of <= st1:place w:st=3D"on">Tyre, which he then surrounded with embankments and high walls. He assisted Solomon, king of Israel, in erecting the temple<= /st1:PlaceType> of Jerusalem, in = return for which that king victualled the Tyrian fleet. He also united with the Jewish king in sending a fleet to Ophir, and gave him one of= his daughters in marriage. He reigned thirty-four years, and was succeeded by= his son Baaleazar. (1876c1)

$H Hiram III. (?) Tyre

King of Tyre, the brother and succ= essor of Meherbaal. He reigned in Tyre twenty years, during the last six = of which he was the vassal of Cyrus, king of Persia. He was succeeded by= his son Muthon IV. (1876c1)

$H Hiranu.

A town in Mesopotam= ia, which was conquered by Tiglath Pileser II. (1876c1)

$H Hirata.

An Arabian town conquered by Assurbanipal.= It was the Hira of mediaeval writers. (1876c1)

$H Hirataqaza.

A town in Southern Palestine, which was conquered by Vaiteh I., king of Arabia, on his invasion of Palestine against Assurbanipal. (1876= c1)

$H Hiriadeva.

Hiriadeva= . "Chief God." The name of the sacred buffalo bull worshipped by the To= das of the Neilgherries. (1876c1)

$H Hiristu.

A people in the mountains of Mesopotamia, = who were subdued by Assurrisilim, king of Assyria. (1876c1)

$H Hirodea.

A Badaga idol,= of whom little is known. (1876c1)

$H Hiser. Egypt

A special name of the Tem= ple of Thoth at Hermopolis.(1902b1)

$H Hise-t.

The daughter of Rames= es VI. (1876c1)

The mother of Rameses= VI. of the XXth dy= nasty. (1876c1)

A daughter of Amenhot= ep III. of the XVIIIth dynasty. (1876c1)

An Egyptian lady, probably the mother of <= span class=3DSpellE>Rameses III. of the XXth dynasty. See Hem-at-rota, both these ladies being styled k= ing's mother. (1876c1)

$H Hise-t-a-matrota.

A wife of Rameses III., king of Egyp= t, in the XXth dynasty. (1876c1)

$H Hiset-em-kheb.

The third wife of Oso= rkon II. of the XXIInd = dynasty. See also Isi-em-chev. (1876c1)

$H Hise-t-nofre-t.

A daughter of Rameses= II. of the XIXth d= ynasty. (1876c1)

A wife of Rameses II. of the XIXth d= ynasty. (1876c1)

The wife of King Seti-Menepthah I. of the = XIXth dynasty, and the daughter of Rameses II. (187= 6c1)

$H Hisiarsah.

A Cuneiform form of the Perso-Greek royal name Xerxes. (1876c1)

$H Historic Painting.

Historic Painting. T= he painting of historic scenes, or scenes in which historical personages are introduced. The first historical painter was Polygno= tus, who decorated the Lesché at Athens with scenes from the Trojan Wa= r. In all probability, however, these paintings were decorative and symbolic ra= ther than graphic, and if they were now in existence they would scarcely rank = high as historic paintings. It is in modern times that this branch of art has = been cultivated with the greatest measure of success.(1891a1)

HISTORIC PAINTING. The highest class of Art with one exception - that of sacred Art. It owes its origin to Greece, and to the artist Polygnotus, of Thaos, who arrived at Athens about 463 B.C. "As Homer,= " says De Pauw, "was the founder of epic p= oetry, so was Polygnotus the founder of historic painting." He was employed to decorate the Lesche or public ambulato= ry near the temple of Apollo at Delphi. The series represented the destruction of Troy, and the events connected therewith; the pictures consisting of groups ranged in three rows on the wall, carrying on the stories in a series of tableaux,† the accessories of which were rather indicative than positive. Thus a house or a wall represented a city; a man throwing down = the stones of the wall, the destruction of the city; a tent, an encampment; the taki= ng down a tent, a departure; and a ship, a fleet; a few captives represented= a conquest; a few warriors an army, and two or three dead bodies, with even= a single individual still bent on slaughter, a victory. The mosaic of the battle of Issus, at Pompeii<= /st1:City>, testifies to the power with which the ancient artists represented actual = scenes. The Romans have left much to prove their ability in the Art. The mediaeval artists were very inefficient, having no imagination; and reducing the ev= ents of all ages to the comprehension of their own, by treating them as if contemporaneous in costume and manner. They were fully as "indicativ= e" as Polygnotus, but without a ray of similar g= enius. True historic painting, the result of a deep knowledge of history, and all the accessories of life at the time of the action of the picture, is of comparatively recent date among the moderns, and can nowhere be better se= en than in the works of the French painter, Paul de la Roche.

† Their supposed design and arrangement has been descanted on by Mr. W. Llo= yd in an illustrated paper in the Mu= seum of Classical Anquities, vol. i. Two German artists, the brothers Riepenhausen, have attempted to restore these works from the description = of Pausanias: Peintures de Polygnote à Delphes, dessinées et gravées d'après la Description de Pausanias. See also Göthe's Polygnot's Germälde in der Lesche zu = Delphi, among his essays, Ueber Kunst= .(1855f1)

$H Historic Painting.

HISTORIC P= ICTURE. A picture delineating a known = event in profane history truthfully in all its accessories. It is a realisation= of the page of the historian. (1855f1)

$H Histrio.

An actor. The GREEK dramas were originally represent= ed on the stage by one performer, who represented in succession the different characters. AEschylus introduced a second and a third actor. The actors w= ere all amateurs, and it was not until a later period that the histrionic profession became a speciality. Sophocles and AEschylus both probably act= ed their own plays. The ROMAN name for an actor, histrio, was formed from the Etruscan hister, a dancer. The earliest histriones were dancers, and performed to the music of a flut= e; then Roman youths imitating them introduced jocular dialogue, and this was the origin of the drama. After the organization of the theatres, the histriones were subjected to cer= tain disabilities; they were a despised class, and excluded from the rights of citizenship. The greatest of hist= riones in Rome were Roscius and AEsopus, who realized great fortunes by their acting.(1883m1)=

$H Hit. Egypt

A form of Bes (q.v.), found at = Dendera.(1902b1)

$H Hittites. Egypt

(See KHETA.)(1902b1)

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

In Scandinavian mythology one of the two children of the moon. See Bil. (1876c1)

$H Hizaki.

An Accadian ci= ty, the site of which is not known. (1876c1)

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

In Scandinavian mythology a goddess who especially protected all persons whose lives were endangered. (1876c1)

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

In Scandinavian mythology the daughter of = the goddess Freyia. She was the goddess of beauty. (1876c1)