$H Inalterable.

A term applied to pa= inted decorations on porcelain, faïence, or enamel, the colours of which, after being passed through the fire, remain unaffected by the action of the air. Photographic proofs are said to be inalterable when th= ey are struck off with the aid of thick ink, which does not turn yellow or fade.(1891a1)

$H In antis or In Antis. Architecture

In antis, Arch. A na= me given to those temples, the pronaos or entrance por= ch of which was formed by two antae or pilasters, and two columns. (See ANTAE.)(1883m1)

In Antis. (Arch.) A = temple in antis, in the language of anc= ient architects, was a temple the façade of which is decorated by two columns of the same thickness as the pilasters or prolongations of the si= de walls of the cella which support the roof of the temple. [Antae.](1891a1)<= /p>

$H Inarus.

A petty king of Libya, whom, together with = the Athenians, the Egyptians under Amyrtaius call= ed to their aid against the Persians under Artaxerxes-Mnem= on, from whom they had revolted. At first the Egyptians were successful, but eventually the Persians raised the siege of Memphis= , drove Amyrtaius to the marshes of the Delta, = and impaled Inarus, placing as Satraps, Thannyras on the Libyan throne, and Pausiris on that of Egypt. The struggle lasted six years. (1876c1)

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

R. Generally the term applies to the ceremony by which the sanction of the gods was invoked upon any decree of man, such as the admission of a new member into a corporati= on or college, or the choice of the site of a theatre, city, or temple, &c.(1883m1)

$H Inaures.

Inaures R. (auris, = the ear; Gr. enotion<= /i>). Earrings. Among the Greeks and Romans they were worn only by women. (See = EAR‑RINGS.)(1883m1)

$H Incense‑burner.

A kind of metal vase= in which perfumes are burnt on live coals. In India, China, and Japan= the most beautiful incense‑burners are made. They assume a multitude of shapes. Some of them are in the form of chimaeras, dragons, and other fantastic animals, which exhale odoriferous vapours<= /span> through their mouths, while others are simple vases, pierced with openings arranged in geometrical patterns. ILLUS. incenseb(189= 1a1)

$H Incensed. Inflamed, Her. = On fire. (See FOCULUS.) (1883m1)

$H Incise.

To cut lines in meta= l or wood. An engraver incises lin= es in the plate upon which he works. One method of decorating metal plates is to incise lines upon them.(1891a1)

$H Incisura.

R. (incido, to cut). Hatching= s made by means of a brush.(1883m1)

A term used by the R= oman painters to denote the hatchings or lines which were drawn with a brush u= pon flat tints to deepen the tone. Incisura was chiefly employed in fresco‑painting= . In modern oil‑painting it has no place, as the effect is now got by ot= her means.(1891a1)

$H Incitega.

R. A kind of tripod = or stand for vessels rounded or pointed at the bottom.(1883m1)

A stand upon which a= mphorae and other jars rounded at the bottom were plac= ed. They were made of various materials, earthenware, wood, metal, &c. The one figured in our cut bears a curious resemblance to the wicker‑st= ands now used to hold soda‑water bottles. ILLUS. incitega(189= 1a1)

$H Incle, Inkle.=

A sort of tape used = as a trimming to a dress.(1883m1)

$H Incline, To.

To set obliquely or = at an acute or obtuse angle.(1891a1)

$H Incrust, To.

To decorate a surfac= e with incrustations; to cut hollows in the surface of a stone wall, for instanc= e, and let in slabs of marble; to embellish panels of wood with ornaments of metal or ivory in such a way that the incrustations do not project from t= he plane of the surrounding surface. When wood of one c= olour is let in upon another it is said to be veneered (q.v.), not incrusted.(1891a1)

$H Incrustation.

The word has a gener= al signification, "a coat of one material applied to another." Technically it should be applied to marble alone; thus a thin slab of mar= ble is incrusted upon a body of s= late or stone, metals are DAMASCENED, fused pigments are ENAMEL, and woods are VENEERED.(1883m1)

A method of ornament= which consists in making incisions with a graver upon a smooth surface, and fil= ling the hollows thus obtained with a material different from that upon which = the incisions are made. Thus incrustations of marble are made upon blocks of stone or marble of a different colour, while = panels of wood are sometimes covered with incrustations of copper, brass, or eve= n of precious metals.(1891a1)

$H Incubator. Egypt

“What most excites our wonder, and deserves the greatest praise, is the industry shown by the rearers of fowls and geese, who,= not contented with the course of natural procreation known in other countries, hatch an infinite number of birds by an artificial process. Dispensing wi= th the incubation of the hens, they with their own hand bring the eggs to maturity; and the young chickens thus produced are not inferior in any respect to those hatched by natural means.” (D= iodorus i. 74.)(1902b1)

$H Incubones.

R. Genii who were su= pposed to guard treasure hidden under the earth.(1883m1)

$H Incunabula.

(1) Swaddling‑= clothes for infants. (2) Ancient specimens of printing are so called.(1883m1)

A term applied to the volumes printed before the first years of the 16th century. Xylographic incunabula were printed from engraved blocks of wood, while typographic incunabula were printed by means of movable type.(1891a1)

$H Incus.

R. (incudo, to beat on). An anvil.(1883m1)

$H Incuse. Numismatics

(Numis.) An incuse coin is a coin which bears on its obverse the same subject in relief as appears incuse on the reverse. Such are the archaic coins of Ma= gna Graecia.(1891a1)

$H Incuse Square. Numismatics

The earliest Greek c= oins were irregular pieces of metal shaped like ingots. The convex surface bor= e an emblem, while on the reverse is nothing but a square indentation called a= n incuse square, the impression of= the square head which held the metal when it was struck.(1891a1)

$H Indelible.

That which cannot be effaced. Ordinary photographic proofs undergo changes on exposure to the light, get covered with spots, and end by disappearing, but when a certain kind of thick ink is used in their printing they are indelible.(1891a1)

$H Indented. = Heraldry

Her. One of the dividing and border lines. It resemb= les the teeth of a saw. Fig. 3= 96. Indented.(1883m1)

(Her.) This is one o= f the ornamental forms taken by the dividing lines of a shield. The difference between indented and engrailed (q.v.) is this, that in the former case each little tooth is a triangle, = in the latter it is a cusp. ILLUS. indented(1891a1)

$H Index.

An analytical or alphabetical table of names, which is placed at the end of artistic catalogues and other works.(1891a1)

$H India Paper (See Indian Paper).

$H India Rubber (See Indian Rubber).

$H Indian Art.

The study of the for= ms and principles of Indian Art is indispensable to an appreciation of the true principles of ornamental design in general. The excellence of Indian manufactures is due to the system of Guilds rigidly adhered to for ages, which has resulted in the production of a race of hereditary craftsmen unequalled for their skill and taste in execution and design. Their potte= ry is distinguished above all others for purity and simplicity of form, obvi= ous fitness to purpose, and individual freedom of design. Its origin antedates the Institutes of Manu, and is lost in antiquity. Indian gold and metal w= ork is supposed by Dr. Birdwood to owe its origin= to Greek influence, but has acquired in its development a purely Oriental character. The Hindoos exhibit the greatest s= kill in the Oriental arts of damascening and enamelling, as well as in lacquer work and wood and ivory carving. All their designs = are deeply symbolical, and closely interwoven with the primitive religious impulses of humanity. India was probably the first country in which the art of weaving was brought to perfection, and the fame of its cloudy gauzes and its gold and silver bro= cades is more ancient than the Code of Manu. The art is repeatedly mentioned in= the Vedas. The purity of Indian Art is endangered in modern days by the introduction of machine‑made goods and European design. (Consult Dr. Birdwood's Handbook of Indian Art.)

Fig. 397. Printed Calico (Indian) illustrating the treatment of flowers.(1883m1)

$H Indian Blue. [See Indigo.] (1891a1)

$H Indian Ink or Chinese Ink.

Indian Ink. [See Ink, Indian.] (1891a1)

A black pigment for = water‑colour painting, made from oil and lamp‑black, thickened with some vegetable gum, and scented with musk or camphor. Many cheap and poor imitations of it are made.(1883m1)

Ink, Indian. An ink consisting of a mixture of lamp‑black, gelatin= e, and odoriferous substances. The odour peculia= r to Indian ink arises from the addition of camphor of = Borneo and powdered musk. Lamp‑black is used for the fine ink and burnt co= rk or grapeskins for the commoner sort. Indian i= nk is the most solid colour known to us. It is the = only true indelible ink, for it has a base of carbon. It was once used exclusi= vely in architectural sketches, which are now executed in water‑colour. The imitations of real Indian ink are numer= ous. The dragons and chimeras, accompanied with gilt characters on a blue grou= nd, are no longer a guarantee of the authenticity of the manufacture of the tablets, which are everywhere on sale. Some Indian inks have a reddish to= ne and present a brilliant effect when they are used as thick as possible. Others on the contrary are greyish in tint and approach a purple blue, yielding tones of much delicacy. The latter tints remain dull on paper whatever be their degree = of intensity, and the inks from which they are obtained are far preferable to the inks yielding reddish tones. They are besides the nearest approach to the ink made in China, as a comparison of t= he tints they yield with Chinese and Japanese paintings will readily convinc= e us. The Chinese have always manufactured the best Indian ink, which is sometimes termed Chinese ink, = and hitherto have successfully kept the secret of their manufacture.(1891a1)<= o:p>

$H Indian Lake. Painting

(Paint.) A red pigme= nt obtained from the resinous secretion of the coccus ficus. It is a good colour, though not so brilliant as madder lake, and= is fairly permanent.(1891a1)

$H Indian Ochre. Painting

A red pigment. (See = RED OCHRES.)(1883m1)

(Paint.) A useful red, composed of sulphur, oxygen, and iron. It is permanent and a pleasing col= our.(1891a1)

$H Indian Paper.

A delicate yellowish= paper used for proof impressions in engraving. A Japanese paper of a similar quality is now frequently used.(1883m1)

India Paper. A paper= of a yellowish colour manufactured in India and China of vegetable fibre, of great value in taking proofs of engraving= s. It is an absorbent paper, and receives a clear impression of even the most delicate lines.

$H Indian Red or Persian Red. Painting

Indian Red. (Paint.)= This pigment is a red haematite which is found in = the Persian Gulf and also in the Forest of Dean in Gloucestershire. It is of great use to the painter, as it is a rich colour and quite permanent. It has been used as a p= igment from ancient times.(1891a1)

Indian Red or Persian Red. A purple earth commonly sold under this name is the peroxide of iron. It is= of a deep hue, opaque and permanent, and useful both in oil and water‑= colour painting; mixed with white it forms valuable= flesh‑tints. (Fairholt.) (See OCHRE, AMATITA.)(1883m1)

$H Indian Rubber or Caoutchouc= .

Indian Rubber, Caoutchouc. An elastic gum; the sap of the Siphonia elastica, and several of the fig tribe in India and South A= merica. It was brought into use early in the 18th century. In its natural state i= t is of a pale yellow brown.(1883m1)

Indian Rubber. An el= astic gum of great service in art, being used to efface pencil lines traced upon paper. It is the sap of a South American tree, and solidifies on being exposed to the air. Its value was only discovered in the last century, bu= t it is now universally used.(1891a1)

$H Indian Yellow. Painting

(Paint.) A pigment u= sed by water‑colour painters with much effect,= as it has greater body than gamboge, and is transpa= rent. In water‑colour it is permanent even in= a strong light, but it speedily disappears in oil.(1891a1)

A golden yellow pigm= ent and dye, said to be procured from the urine of the cow, or else from camel's dung. It is used in water‑colour painti= ng, but is not usually permanent. In some parts of the East it is called PURREE.(1883m1)

$H Indicate. =

When in a sketch a f= orm is suggested by an outline, but not drawn with precision, that form is said = to be indicated. For instance, the contour of a figure, the execution of whi= ch is not completed, may be said to be indicated. In a picture, all that is = not finished is indicated, that is to say, is expressed by indefinite lines or vague tonalities, which, did they occupy an important place in the composition, would need to be treated more seriously. We say that an arti= st is content with indications when by means of refined lines and simple and true colours he indicates exactly and without dryness that which he wishes to represent. In primitive art another metho= d of indication is adopted. A part suggests the whole; thus a tree is employed= to indicate a forest, a ship, a fleet, &c.(1891a1)

$H Indigetes.

Indig= etes (sc. Di), R. Indigenous = gods. Heroes who were deified and worshipped as protectors of a place. The term= is derived from inde and genitus<= /i>, meaning born in that place. AEneas, Faunus, Romulus, &c., were indigenous gods.(1883m1)

$H Indigo. Painting

(Paint.) A blue pigm= ent used in water‑colour painting, which yields = a tone less close to green than Prussian blue. Indigo is brighter than the latte= r, and slightly tinged with violet. Under ordinary conditions it is permanen= t, but it is adversely affected by white lead and impure atmosphere.(1891a1)=

A deep blue pigment = prepared from the leaves and branches of a small shrub; it is transparent, tolerab= ly permanent, and mixes well with other pigments, forming excellent greens a= nd purples. A deep brown, known as i= ndigo brown, and a deep red resin, known as indigo red, may be extracted by purifying the blue colo= ur obtained from this dye. The old blue dye of the aboriginal Britons was produced from woad (isatis tinctoria= ). (Fairholt.) (See INTENSE BLUE.)(1883m1)

$H Individuality.

A term which denotes= the originality of an artist and the personal character which he communicates= to his works. Thus we speak of a strongly marked individuality, a scene the rendering of which lacks individuality, and so is commonplace.(1891a1)

$H Indra. Hindu

In Hindu mythology the title of the Supreme Being as the living power of heavenly fire and of lightning. He was called also Dyauspitar, the Die= spiter or Jupiter of the Romans. (1876c1)

$H Inescutcheon.= Heraldry

Her. An heraldic shi= eld borne as a charge.(1883m1)

Inescutcheon. (Her.) [See Shield of Pretence.] (1891a1)