$H Iamblichus. Egypt

A Syrian Neo-platonist of the fourth century A.= D., to whom has been ascribed the celebrated book "On the Egyptian Mysteries," or "Answer of Ab-Amen t= he master to Porphyry's letter to Anebo, and sol= utions of the doubts therein expressed," a work interesting to the student = of Egyptian religion.(1902b1)

$H Iatnan. Or Yatnan.

Iatnan. Or Yatnan. The Assyrian name of= the Island of Kypros or Cyprus, in the Mediterranean Sea. (1876c1)

$H Ibilsin.

An early Babylonian king who reigned at Ur. Nothing else= is known respecting him. (1876c1)

$H Ibis. Egypt

The bird sacred to Thoth, that god being frequently represented with t= he head of an ibis. It was the Ibis = Aethiopica, which is not found north of Wady Halfa. The bird as= a hieroglyph forms part of the name of Thoth.(1= 902b1)

&n= bsp;

$H Ibium. Egypt

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

&n= bsp;

$H Ibrahim.

The modern name of the city or district wh= ich was called by the Assyrians Kute. (1876c1)

&n= bsp;

$H Ibt. Egypt

An Egyptian prefix, signifying "East." (1876c1)

&n= bsp;

$H Icebreaker.

A projecti= ng angle placed on the piers of a bridge, facing up stream. to catch the blocks of= ice which flow down when the frost breaks up.(1891a1)

$H Ich Dien.

I serve. The popular belief th= at Edward the Black Prince adopted this motto and the "Prince of Wales= 's feathers," at the battle of Cressy, from= the blind King of Bohemia, is not sustained by investigation. It was at the battle of Poitiers that he first adopted this crest, joining to the family badge the old Eng= lish word Ic<= /span> den (Theyn= ), "I serve," in accordance with the words of the Apostle, "T= he heir, while he is a child, differeth nothing = from a servant." (Mrs. Palliser; Historic Devices.)(1883m1)

$H Ichnographic.

A term applied to a = drawing, sketch or plan executed by the processes of ichnography.(1891a1)

$H Ichnography.

The art of making ma= ps or plans.(1883m1)

The art of drawing b= y means of compass and rule. The term is also applied to the art of tracing plans= and figures.(1891a1)

$H Iconic.

(sc. statues), Gr. and R. (,Æ6@<46[=3Deikonika], i.e.= ) Portrait‑statues; especially statues raised in honour of athlet= es who had been victorious in the contests.(1883m1)

$H Iconoclasts.

Chr. Image‑breakers. The name originated in = the 8th or 9th century in the Eastern Empire, from which finally Theophilus banished all the painters and statuaries in 832. It has been since generally applied to th= ose who, at various outbreaks of fanaticism, have destroyed ecclesiastical objects of art, and is especially applicable to the disciples of Savonaro= la in 1497, and to the Puritans of Scotland and England during the civil wars.(1883m1)

Breakers of images. = At various periods in the history of art Iconoclasts have wreaked their fury upon images. The name was first given to the Byzantine emperors of the 8th century who destroyed the images of the Christian Church. One of the grea= test Iconoclasts whose name is known to history was Savonarola, who in two yea= rs gave to the flame many hundred masterpieces of Florentine art. Those who carried out the Reformation in our own country in the reign of Henry VIII. well earned the title of Iconoclasts, for they wantonly destroyed or carr= ied off the marvellous collections of works of art which had grown up at the shrines of the saints. Whatever escaped their f= ury was reserved only for the Puritans, the Iconoclasts of the 17th century. = In this age of tolerance and artistic appreciation the spirit of Iconoclasm = is happily almost extinct.(1891a1)

$H Iconographic.

That which relates to iconography.(1891a1)

$H Iconography.

Iconography. That sc= ience which includes the study and description of the paintings, sculptures, and engravings of antiquity and the Middle Ages, and especially the knowledge= of portraits, images, busts, or statues. The iconography of a celebrated person in a description of all existing portraits of him.(1891a1)

Iconography (i.e. image‑description). The science that deals with statues and images,= bas‑reliefs, busts, medals, &c. Thus we have an Egyptian, Greek, Roman, mediaeval iconography, &c. The best work on this science is "Christian Iconography; or the History of Christian Art in the Middle Ages," by= M. Didron. The second volume contains a manual on the subject by a painter of the 12th century.(1883m1)

$H Iconology.

A knowledge of the attributes of mythological personages; a study of emblematic figures, as = well as the interpretation and description of works of art. Sacred iconology d= eals with the attributes and artistic representation of persons mentioned in t= he holy Scriptures, the lives of the saints &c.(1891a1)

$H Iconostasis. Christian

Chr. The screen of the chancel in ancient churches= , so called because it was there that images (,Æ6`<,H[=3Deikones]) were = displayed for the adoration of the faithful.(1883m1)

$H Icosahedron.

A solid figure prese= nting twenty equal plane sides. The surface of a regular i= cosahedron consists of twenty equilateral triangles. A large number of crystals are = cut in the form of an icosahedron.(1891a1)

$H Icsuda.

One of the dogs of the deity Marduk, who was also made into a mythical god by the Assyrians. (1876c1)

$H Icu. Or Dilgan. [Also see Dilg= an - Editor]

Icu. In Ch= aldean astronomy a name of the planet Jupiter as one of the twelve stars of the West. (1876c1)

Dilgan. Or Icu. In Chaldean astronomy a name of the planet Jupiter, as one of the twelve stars of the West. Also -(187= 6c1)

$H Ida. Or Ila.

Ila. Or = Ida. In Vedic mythology the daughter of the patriarch Menu, to whom she was born after the deluge, as a reward for his piety. She became the progenitor of= the human race. (1876c1)

$H Idadu= . Chaldaea

An early Chaldean king ruling at Ridu. Nothing else is known respecting him. (1876c1)

$H Idalion. Cyprus

A capital city in the Island of Cyprus<= /st1:PlaceName>. It was the Idalium of the Greeks, by whom it = was consecrated to the worship of Aphrodite. It was tributary to the Assyrians under Sarg= on, Sennacherib, and Esarhaddon. (1876c1)

$H Ideal (and Real).

Ideal and Real. &quo= t;Any work of art which represents, not a material object, but the mental conception of a material object, is in the primary sense of the word ideal; that is to say, it repres= ents an idea, not a thing. Any work of art which represents or realizes a material object is, in the primary sense of the term, un‑ideal." (Modern Painters, vol. ii. chap. 13.) In a practical sense an ideal picture or statue (e.g. the Medici Venus) is not the portrait of an individual model, but the putting together of selected parts from several models. Raphael said, "To pa= int a beautiful woman I must see several, and I have also recourse to a certa= in ideal in my mind;" and Guido said, "The beautiful and pure idea must be in the mind, and then it is no matter what the model is."(1883m1)

Ideal. The Ideal in art is the supreme or t= ypical perfection, which only exists in the imagination of the artist. The ideal= is individual. Each artist pursues his search for the ideal in his own way. = But the ideal implies for the artist the perfection of the type set before hi= m, whatever it may be. To attain the ideal is to approach as closely as poss= ible to perfection, relying all the time upon the study of nature and interpre= ting it in an individual manner. The ideal of Michael Angelo is very different from that of Rembrandt and Velasquez, yet all three have left behind them masterpieces of very strongly marked character. The ideal of a human figu= re cannot represent literally one individual. It must be, as it were, an epi= tome of the good points in many individuals. Lucian in his description of Panthea gives us an excellent illustration of what = an ideal figure should be. For he imagines this paragon of beauty to combine= all the graces which the greatest sculptors of Greece had expressed in the= ir work. In the familiar language of every day the word ideal has a slightly different meaning. Thus when we speak of= a portrait being ideal, we mean that the elements of coarseness and commonplaceness which may exist in the sitter's face are eliminated. (189= 1a1)

$H Idealise.

To render a scene id= eal or poetical; to interpret it with a refined sentiment; to give a figure a no= ble attitude and outlines of the utmost purity; to draw a portrait and at the same time to ennoble the features of the model.(1891a1)=

$H Idealist. =

An artist whose works testify to his search after the ideal.(1891a1)

$H Ideograms. Egypt

See HIEROGLYPHS.(1902b1)

$H Ideography.

A method of expressi= ng ideas by signs representing the objects spoken of. Egyptian hieroglyphics are a kind of ideographic writing.(1891a1)

$H Ides, Idus.

Ides, Idus. R. One o= f the monthly divisions in the Roman year; it fell on the 15th in months of thi= rty‑one days, excepting January, August, and December; in months with only twenty= ‑nine or thirty days, the ides fell= on the 13th. The kalends are the first of every month; the nones are the 7th of March, May, July, and October, and the 5th of all the other months; and the ides always fall eight days later than the nones; and the days are reckoned backwards: thus the 13th of January is the ides of January, and the 14th = of January the 19th day ante diem (or before) the February kalends. The morrow of t= he ides was looked upon as an unlucky day (nefas).(1883m1)

$H Idilu= .

A petty kingdom in = Arabia, conquered for the first time by the Assyrians under = Esarhaddon. (1876c1)

$H Idku<= /span>. "The Eagle" &nb= sp; C= haldaea

In Chaldean astronomy one of the seven stars of the west. (1876c1)<= /p>

$H Idol.

A statue, often pain= ted or gilded, representing a deity. Some Indian idols are works of art of extraordinary beauty and admirable workmanship.(1891a1)=

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

In Scandinavian mythology the wife of Bragi, the god of oratory. She was the goddess of immortality, and as such had no parents. (1876c1)

$H Idus [See Ides - Editor]

$H Ig.

The Assyrian royal shekel, equal to 12 pennyweights. (1876c1)

$H Ika-samsu.

A king of Ekron. He was one of the tributaries of Esarhaddon. (18= 76c1)

$H Ikatai.

The Egyptian name of an unidentified Syrian city. (1876c1)

$H Ikb-ibel. Babylonia

A city in Babylonia, where Merodach-baladin I. took refuge from Sargon II. before his complete defeat at the battle of <= span class=3DSpellE>Dur-Yakin. (1876c1)

$H Ikh-ilu.

A petty kingdom in = Arabia, which was ravaged, and its queen, Bailu, put = to death by Esarhaddon. (1876c1)

$H Ikk-ilu.

Another form of the A= rvadite personal royal name Yakinlu, which see. (1876= c1)

$H Ikul-anu. "<= st1:PlaceType w:st=3D"on">Palace of Anu." (?)

A temple erected to the deity Anu at Babylon, by Nabukuduruzur II. (1876c1)

$H Il. "God."

The Supreme Deity in the abstract, of the = Sabaeans. The Ilu of th= e Chaldeans. (1876c1)

$H Ila. Or Ida.

Ila. Or = Ida. In Vedic mythology the daughter of the patriarch Menu, to whom she was born = after the deluge, as a reward for his piety. She became the progenitor of the h= uman race. (1876c1)

$H Ilabu.

A city situated on an island in the Euphrates. It was conquered by Assurnazirpal (1876c1)

$H Ilani.

A chief of the district of Amida, conquered by Assurnazirpal. (1876c1)

$H Ilgi. Chaldaea

An early Chaldean monarch. He was the son of Urhammu. He comple= ted the temple of the Moon-god Sin, which his father had begun at Ur. No other particulars of his reign are known.(1876c1)

$H Ilkiya.

The Archon of Damascus, under Sennacherib. (1876c1)=

$H Illapa. Peruvian

Peruv. One of the divisions of the temple of the Sun= (Inti) a= mong the ancient Peruvians, so called because it was dedicated to the thunder (Illapa)= . (See INTI.)(1883m1)

$H Illegitimacy. Heraldry

(Her.) The proper brisure= or difference (q.v.) charged upon the arms of illegitimate children is the baton which is a diminutive of t= he bend sinister. This mark of difference is popularly but incorrectly known= as the bar sinister.(1891a1)

$H Illib= u.

A kingdom in Mesopotamia which was rendered tributary to Assyria by Sargon II. (18= 76c1)

$H Illinos.

In Greco-Babylonian mythology the son of <= span class=3DSpellE>Kissare and Assaros, an= d the second member of the first divine triad. His analogue was the Ilu of the Assyrians. See also Anu and= Bel. (1876c1)

$H Illipa.

An Elamite kin= gdom, governed by Dalla and his successor and nephe= w Ispabara, as a tributary of = Assyria. (1876c1)

$H Illuminated.

Adorned or decorated= with illuminations. Brightly coloured; clothed in a brilliant and striking colour.(1891a1)

$H Illumination.

The art of illuminat= ing, i.e. of embellishing manuscripts= with drawings in body colours and gold. The earlie= st illuminations were executed in red lead, and later in cinnabar. The art w= as practised from the 3rd century until the 17th, and = monks were especially skilled in illumination. Many specimens of illumination a= re still in existence dating from the Middle Ages, and some have been reprod= uced by chromolithography.(1891a1)

This art originated simply in the application of minium (or red lead) as a colour= or ink, to decorate a portion of a piece of writing, the general text of whi= ch was in black ink. The term was retained long after the original red lead = was superseded by the more brilliant = cinnabar, or vermilion. Ornaments of all kinds were gradually added, and the term includes the practice of every kind of ornamental or ornamented writing. = From the 3rd century Greek and Roman specimens exist of golden lettering upon purple or rose‑coloured vellum, and the art prevailed wherever monasteries were founded. Anglo‑Saxon and Irish MSS. of the 6th and= 7th centuries exhibit a marvellous perfection, characterized by wonderfully minute interlacements of the patterns. Nearly all the best specimens of illumination were destroyed on the dissolution of monasteries. (Consult "The Art of Illuminating= ," by W. R. Timms.)(1883m1)

$H Illuminator.

An artist who execut= es illuminations. The most skilful illuminators flourished in the 15th 16th,= and 17th centuries. There were also illuminators among the Greeks and Romans.= A manuscript of Vergil dating from the 4th cent= ury is preserved in the V= atican. We are told that the manuscripts executed by the Byzantine illuminators w= ere marvels of art. The gospel of Charlemagne (8th century) is to be seen at = the Louvre. The art of the illuminator decayed in the 1= 0th century, but in the 13th it increased in variety and richness. Among the = most celebrated illuminators we must mention Jehan= Foucquet (1416‑1485), author of "Les Heure= s d'Anne de Bretagne," and later in th= e 17th century, Robert, who executed in 1641 the garlands of flowers which forme= d a border for a text written by Jarry, entitled = "Guirlande de Julia," presented by the Duke de = Montausier to Julie de Ramboui= llet.(1891a1)

$H Illustrate, To. <= /span>

To execute drawings or engravings intended for the illustration of a book. To illust= rate a volume is to furnish representations of the principal scenes in the work and at the same time to execute designs for borders, head‑pieces, t= ail‑pieces, and initial letters.(1891a1)

$H Illustration.

A term applied to th= e coloured omaments of an= cient manuscripts as well as to the engravings printed apart or the cuts insert= ed in the text which embellish modern books, and are suggested by the subjec= t of the work in which they are placed. From the "Books of Hours," t= he "Nuremberg Chronicle" (15th century), and the "Dance of De= ath," down to the modern éditions de luxe= , an immense number of illustrated books have appeared. Varying with the taste= of each epoch, illustrations have been executed on copper, stone, or wood. In addition to illustrations in black and white we sometimes find illustrati= ons executed in colour by the processes of chromolithography and chromotype. A decided tendency may be observed in the illustrations of to‑day to facsimile the sketch or drawing of the artist by the various mechanical processes b= ased upon photography.(1891a1)

$H Illustrator.

An artist who execut= es drawings or vignettes intended to illustrate books or journals. From the = time of Holbein to the present time, the list of talented illustrators would be a very long one. Very many of our great artists, among whom we may mention Fred. Walker, Mil= lais, and Holl, first won distinction in this popul= ar branch of art.(1891a1)

$H Il-ma= kah. "The God that Hears."

A Himyaritic o= r Sabaean deity, who was more generally worshipped in= Sabaea. To him was dedicated the principal temple a= t Mareb, in South-western Arab= ia. (1876c1)

$H Il-sharah.

A king of the Himyari= tes, about the first century B.C. He was succeeded (?) by Karibail.(1876c1)

$H Il-sh= arah-yadhab.

A petty king of Sab= a. See Fara= m-Yadhab. (1876c1)

$H Il-tebu.

One of the dogs of the deity Marduk, who was made also into a god by the Assyria= ns. (1876c1)

$H Il-tim-arba.

An Elamite city destroyed by Sennacherib. (1876c1)

$H Ilu. "God." Assyria

The Assyrian Deity as an abstract entity. = His residence was in the heavens, and the other divinities were emanations or personifications of him. See also= Anu and= Bel.(1876c1)

$H Ilu-ba. Assyria

An early king of As= syria, of whom nothing is known. He was succeeded by his son, Iritak. (1876c1)

$H Ilu-bihid.

A king of Hamath. He was in no way related to the royal line, but contrived to usurp the thron= e by promising to deliver the country from the Assyrians, with the aid of Sibahe, king of Egypt. He was, however, def= eated and captured at the city of = Arva, by Sargon II., who h= ad him flayed alive and his city burnt. (1876c1)

$H Ilu-daria.

The Tartan of Assurba= nipal, king of Assyria. He was ruler of the <= st1:PlaceType w:st=3D"on">province of Lubdi, near Babylonia, and revolted against his master, seizing the district of Ubummi; but while attacking the city of Kullimir, he was slain in a night sally of the besieged, and his head sent to As= surbanipal. (1876c1)

$H Ilu-hilti.

The king of Rure, a district to the North of Assyria, which was conquered by Shalmaneser II. (1876c1)

$H Ilu-kassat. Chaldaea

An early Chaldean king, possibly belonging to the IInd dynasty = of Berosus. (1876c1)

$H Ilukiya. Assyria

An Assyrian governor, in the court of Vulnirari III. He was = the eponym of the year B.C. 805, the chief event in which was an expedition t= o Hazazi. (1876c1)

$H Iluleus.

The Greek form of the name of the Tyrian king Lulya, whic= h see. (1876c1)

$H Ilus. "Mud." Phoenician

In Phenician mythology an elementary deity, the offspring of the = energic wind, and the material chaos. (1876c1)

$H Im. Akkad

In Accadian mythology the name of the Assyrian deity Bin or Vul<= /span>, the god of the atmosphere. (1876c1)

$H Image.

A statuette or small representation of a living person. The classical nations made images of t= heir ancestors, which they regarded with a kind of reverential awe and carried= in solemn processions such as funerals and triumphs. These images held the same place in the estimation of the ancients = as is held to‑day by genealogical trees, and many a Roman aristocrat w= as as proud of having a large array of images in his house as Englishmen oft= en are of having "come over with the Conqueror." Small images of various materials, representing the Virgin or some other holy person, and generally placed in a small niche, are frequently found in the churches or even in the homes of devout Catholics. ILLUS. image(1891a1)

$H Image‑maker. Mediaeval

A term applied in th= e Middle Ages to artists who carved and illuminated images. The thousands of statu= es which decorate Gothic churches are the work of image‑makers. From t= he 13th to the 16th century image‑makers generally followed their own inspiration. We can therefore institute no comparison between the mediaev= al image‑makers and the decorative sculptors of to‑day. For the latter only work to carry out a given design set them by the architect or= the chief of the works. It is this independence of the image‑maker from control which explains the originality, the audacity even of much of the decorative work of the Gothic period. In the 16th and 17th centuries there were indeed sculptors but no image‑makers, and after this time the = term is only applied to those who make childish images or carry out valueless designs. And so it has come about that the word, which in the Middle Ages designated a true artist, whose works, in being naïve, were none the less meritorious, is nowadays only used in a bad sense.(1891a1)

$H Image‑making. &nbs= p;

The art of making im= ages, which was practised with much success in the = Middle Ages, but which did not until long after rank among the arts. The term is especially applied to the manufacture of pointed of gilded statuettes generally placed on small brackets and covered with a canopy. Sometimes images of this kind are arranged in the form of a di= ptytch or triptych. They generally represent Christ, the Virgin, and the saints.= In the 14th and 15th centuries images were made which opened and shut as reliquaries. in the 16th century figures painted in enamel at Limoges and elsewhere took the place of representations of holy personages in relief.(1891a1)

$H Imaginary Beings. Heraldry

(Her.) There is a wh= ole class of heraldic charges consisting of imaginary beings, formed by pieci= ng together various parts of different animals, as for example a cock with t= he head and feet of a goat. The most common for heraldic purposes of these imaginary beings are the dragon <= /i>and the griffin, but the wyvern and cockatrice are often met with, and occasionally but more rare= ly the classical centaur, nereid, pegasus, an= d chimera. ILLUS. imaginar(1891a1)

$H Imagines a vestir or Imagines à Vestir.

Imagines a vestir, I= t. Wooden images set up in Italian churches, with the heads and extremities finished, and the bodies covered with real drapery.(1883m1)

Imagines à Vestir. Wooden images of the Virgin and the s= aints set up in Italian churches. Their heads, feet, and hands are finished with some care, while the rest of them is only roughly blocked out and covered with vestments of costly material and richly embroidered. These imagines present a curious parallel to the rough images of deities which were treasured in some Greek temples and richly draped, as the image of Athene in the Erectheum= .(1891a1)

$H Imagines Majorum.

R. Portraits of ance= stors, or family portraits; they usually consisted of waxen masks, which were ke= pt in the cases of an armarium or in an aed= icula; or small statues which were carried before the corpse in a funeral procession.(1883m1)

$H Imbrex.

R. A ridge‑til= e of semi‑cylindrical form, and thus distinct from the tegula, which was a flat = tile. It was called imbrex from its collecting the rain (imber). Imbrex supinus was the name given to a channel or gutt= er formed of ridge‑tiles laid on their backs.(1883m1)

$H Imbricated. Architecture

(Arch.) A term appli= ed to surfaces decorated with imbrications.(1891a1)

$H Imbrication. Architecture

Imbrications. Architectural ornaments which take the form of fishes' scales, or of segmental ridge= 209;tiles (imbrices) which overlap; whence the name given to them.(1883m1)

Imbrication. (Arch.) A method of decoration consisting of = thin plates placed one upon the other, either in the form of fish‑scales= or of small pointed jaggings, which partly overl= ap, like the tiles on a roof. ILLUS. imbricat(1891a1)

$H Imbricatus.

R. Covered with flat= and ridge‑tiles (tegulae and imbrices= ).(1883m1)

$H Imbrothered. Old English

O.E. Embroidered.(18= 83m1)

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

Her. Stained with blood.(1883m1)

$H Imgur= bel.

A city in Assyria which supported Assurdainpal in his revolt ag= ainst his father Shalmaneser II. (1876c1)

The name of one of the great walls of Babylon, which w= as erected by Nabukuduruzur or Nebuchadnezzar. (1876c1)

$H Im-hetep. Egypt

Eighth king of Dynasty IV., cir. 3730 B.C., reigned nine years.(1902b1)

$H Imhetep or Imhotep<= /span>. Egyptian deity

Imhotep. An Egyptian deity, and one of the first kin= gs of Egypt. He was afterwards called the son of the god Pthah. He was an architect, a= nd the reputed author of many mystical books of art and mythology. He was ca= lled by the Greek writers Torsorthrus. (1876c1)

Imhetep. A god called by the Greeks Imuthes<= /i>, and likened by them to Asklepios. He is the first-born of Ptah, and Nut is his mother. Powers of exorcism and healing were attributed to him. A temp= le was built to him between the Serapeum and the village of Abus&i= circ;r. His cult increased in Saïte and Greek times. Statuettes and reliefs represent him as a young man wearing a close cap and often with an open r= oll of papynls on his knee. ILLUS. Imhetep.(1902b1)

$H Imhotep.

The son of the king and deity Imhotep of the IIIrd dy= nasty. (1876c1)

An Egyptian priest, the son of Isueri, in the XXVIth d= ynasty. (1876c1)

An ancient Egyptian official. He was called the "Chief of the Secrets of the Place of Life," and chief of t= he soldiers. He lived probably about the period of the = Vth dynasty. (1876c1)

$H Imitate, To.

To copy; to reproduc= e by imitation; to produce works in the manner of a master or the style of a school.(1891a1)

$H Imitation.

Works of painting or sculpture are said to be executed in imitation when, although they are re= ally composed of a worthless material, they pretend to be precious substances. Thus we speak of an imitation of marble, an imitation of bronze.(1891a1)<= o:p>

$H Imitative Arts. <= /span>

This term is applied collectively to painting, sculpture, and engraving to distinguish them fr= om architecture on the one hand and from music and dancing on the other.(189= 1a1)

$H Immissarium.

R. (immitto, to send into). A= stone basin or trough; any receptacle built upon the ground for the purpose of containing water supplied from the castellum.(1883m1)

$H Imout= hes. Egypt

The Egyptian god of medicine and surgery, supposed to have been King Tseshortsa (Torsorthrus) under a deified name, or perhaps the g= od Imhotep. (1876c1)

$H Impale. Heraldry

(Her.) To impale is = to conjoin two coats of arms side by side on one shield. This is frequently = done in the case of husband and wife, while a bishop's coat of arms is often i= mpaled with that of his diocese.(1891a1)

Her. To conjoin two = separate coats of arms on one shield (as a husband's and wife's, &c.). The dev= ice of Queen Mary (Fig. 395) is the i= mpalement of the double Tudor rose with the arms of Catherine of Aragon.=

Fig. 395. Device of Philip and Mary. Arms of Tudor and Aragon Impaled (Rayonnant).(1883m1)

$H Impannata.

It. Oiled paper.(188= 3m1)

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

It. The thickness of= the body of pigment laid on to a painting. Rembrandt, Sa= lvator Rosa, and others used a thick imp= asto; Raphael, Guido, and others, one extremely thin.(1883m1)=

(Paint.) An abundant application of very thick oil‑colour to= the surface of a canvas. The object of impasto is to give relief, force, and solidity to the objects represented. We speak of vigorous impasto, solid impasto, &c. It is to be noticed that impasto always strengthens the luminous portions of a picture. The shades ought to be lightly treated, or there is a danger of their losing their transparency. By the use of speci= al impastos, applied to the canvas by particular processes, some artists have succeeded in representing rocky country, rugged walls, &c.(1891a1)

$H Imperial. =

(Arch.) A dome is sa= id to be imperial when its curves unite so as to form an acute angle.(1891a1)=

Anything adapted by = its excellence for royal uses, or distinguished in size, is generally so call= ed.

(1) O.E. A sort of p= recious silk, wrought partly with gold, used by royalty and for ecclesiastical purposes, brought to England from Greece in the 12th century.

(2) The largest kind= of slate for roofing.

(3) Paper 27 inches = by 23.

(4) Sp. The roof of = a coach; hence, in English, a trunk made to fit the top of a carriage. =

(5) Russian. A gold = coin of 10 silver roubles.(1883m1)<= /p>

$H Impluviata.

R. A cloak of square= shape and brown in colour, worn as a protection aga= inst rain.(1883m1)

$H Impluvium.

R. (1) A cistern on = the floor of the atrium in a Roman house, into which the rain was conducted. =

(2) The aperture in = the roof of the atrium. (See DOMUS.)(1883m1)

(Arch.) A square tan= k or cistern sunk in the middle of the floor of the atrium in a Roman house. T= he rain‑water which fell through the compluvium (q.v.) was collected in the impluvium.(1891a1= )

$H Impost. Architecture

Arch. The horizontal= mouldings on a pillar, from which an arch is projected.(1883m1)

(Arch.) Projecting s= tones terminating a pillar upon which the first voussoirs<= /span> of an arch rest. A fixed slab placed above a door or window and forming p= art of the frame of a bay. The term is also applied to the mouldings which decorate an arch or bay. ILLUS. impost(1891a1)

$H Impression. Engraving

(Engr.) A print struck off from an engraved plate is called an impression. Thus we speak of an early impression, a brilliant impression, a poor impression, &c. The term impression is applied in painting to a vivid sketch which represents a scene in nature = as it impressed the artist who drew it. [Impressionist.](1891a1)<= /span>

$H Impressionism.

The doctrine affecte= d by impressionists (q.v.).(1891a1)

$H Impressionist.

The impressionist sc= hool is a contemporary school of painting, the adherents of which set themselves = to render, not reality in its minuteness, but a rapid aspect of nature, reproducing as nearly as possible the impression made upon their own mind= by any particular scene. It is quite clear that nature, looked at rapidly, especially landscape, can be rendered by means of a few vigorous and forc= ible touches, and further, that the value of this general and summary impressi= on may be spoilt by excessive toil in the elaboration of details. Among the sketches of impressionists are to be found many charming studies extraordinarily truthful in tone; but hitherto this school has not been a= ble to convince the public, whose aesthetic education leads them to expect something more in a picture than is revealed to them in a rapid impressio= n, and to look with suspicion or contempt on any drawing which does not exhi= bit what they regard as "finish."(1891a1)

$H Imprint. <= /h1>

A reproduction, eith= er depressed or in relief, obtained directly from an object. The imprint of a medal for instance is the hollow mould of this medal. The imprint of an incised tombstone or of an intaglio is on the contrary in relief. It is obtained with wax or plaster, sometimes with clay.(1891a1)

$H Improvisations. <= /span>

A rapid sketch drawn= under the impulse of a sudden idea. Many etchings may be called improvisations on copper, when t= hey are drawn with a free point and are boldly bitten in.(1891a1)<= /span>

$H Imki<= /span>.

The Accadian n= ame of the city or district of Muru, whose site is n= ot known. (1876c1)

$H Imsug= ilna. Chaldaea

In Chaldean astronomy the name of an unidentified fixed star. (1876c1)

$H Imu.

A Syrian people, mentioned in the Egyptian texts as subdued by Thothmes III. They have b= een supposed to have been the Emin of Hebrew hist= ory. (1876c1)

$H Imuthes. Egypt [See also Imouthes - Editor]

The Greek form of Imhetep (q.= v.).(1902b1)

$H Iamblichus. Egypt

$H Iatnan. Or Yatnan.

$H Ibilsin.

$H Ibis. Egypt

$H Ibium. Egypt

$H Ibrahim.

$H Ibt. Egypt

$H Icebreaker.

$H Ich Dien.

$H Ichnographic.

$H Ichnography.

$H Iconic. (sc. statues), Gr. and R. (,Æ6@<46[=3Deikonika], i.e.= ) Portrait‑statues; especially statues raised in honour of athlet= es who had been victorious in the contests.(1883m1)

$H Iconoclasts.

$H Iconographic.

$H Iconography.

$H Iconology.

$H Iconostasis. Christian

$H Icosahedron.

$H Icsuda.

$H Icu. Or Dilgan. [Also see Dilg= an - Editor]

$H Ida. Or Ila.

$H Idadu= . Chaldaea

$H Idalion. Cyprus

$H Ideal (and Real).

$H Idealise.

$H Idealist. =

$H Ideograms. Egypt

$H Ideography.

$H Ides, Idus.

$H Idilu= .

$H Idku<= /span>. "The Eagle" &nb= sp; C= haldaea

$H Idol.

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

$H Idus [See Ides - Editor]

$H Ig.

$H Ika-samsu.

$H Ikatai.

$H Ikb-ibel. Babylonia

$H Ikh-ilu.

$H Ikk-ilu.

$H Ikul-anu. "<= st1:PlaceType w:st=3D"on">Palace of Anu." (?)

$H Il. "God."

$H Ila. Or Ida.

$H Ilabu.

$H Ilani.

$H Ilgi. Chaldaea

$H Ilkiya.

$H Illapa. Peruvian

$H Illegitimacy. Heraldry

$H Illib= u.

$H Illinos.

$H Illipa.

$H Illuminated.

$H Illumination.

$H Illuminator.

$H Illustrate, To. <= /span>

$H Illustration.

$H Illustrator.

$H Il-ma= kah. "The God that Hears."

$H Il-sharah.

$H Il-sh= arah-yadhab.

$H Il-tebu.

$H Il-tim-arba.

$H Ilu. "God." Assyria

$H Ilu-ba. Assyria

$H Ilu-bihid.

$H Ilu-daria.

$H Ilu-hilti.

$H Ilu-kassat. Chaldaea

$H Ilukiya. Assyria

$H Iluleus.

$H Ilus. "Mud." Phoenician

$H Im. Akkad

$H Image‑maker. Mediaeval

$H Image‑making. &nbs= p;

$H Imaginary Beings. Heraldry

$H Imagines a vestir or Imagines à Vestir.

$H Imagines Majorum.

$H Imbrex.

$H Imbricated. Architecture

$H Iconic.

(sc. statues), Gr. and R. (,Æ6@<46[=3Deikonika], i.e.= ) Portrait‑statues; especially statues raised in honour of athlet= es who had been victorious in the contests.(1883m1)