$H Inferiae.
|
R. Sacrifices or off=
erings
made at the tombs of the dead.(1883m1) |
$H Infiammati.
|
A literary society o=
f |
$H Infocati.
|
One of the Italian l=
iterary
societies, Device: a bar of hot iron on an anvil, beaten by two hammers,
Motto: "In quascunque
formas."(1883m1) |
$H In Foliage. Heraldry
|
Her. Bearing leaves.=
(1883m1) |
$H Infrenatus.
|
Infrenatus (sc. eques),=
R. A
horseman who rides without a bridle (frenum), controlling his horse solely by the voice or =
the
pressure of the knees upon its side. (Fig. 282.)(1883m1)
|
![](3D"inf_files/image017.gif")
$H Infringement.
|
An infringement of t=
he law
of artistic copyright (q.v.) is an imitation or fraudulent reproduction o=
f a
work of art the copyright of which is reserved.(1891a1) |
$H Infula or Infulae. Costume
|
Infula, R. A flock of red and white wool worn by
priestesses and vestals and other Romans on festive or solemn occasions. =
In
sacrificing also an infula was tied with a wh=
ite
band (vitta<=
/i>)
upon the victim. Hence ‑ Infulae, Chr. Ribands hanging fr=
om a
bishop's mitre.(1883m1) |
|
Infulae. A portion of the ecclesiastical costume, cons=
isting
of small pendants hanging from the mitre and
falling over the shoulders of the wearer. Our cut is from a brass of the =
15th
century in
|
![](3D"inf_files/image018.gif")
$H In Glory, In Splendo= ur. Heraldry
|
Her. The sun
irradiated.(1883m1) |
$H Ingnio.
|
One of the three sons of Mannus,
and founder of one of the German races. See
Istio. (1876c1) |
$H Ingriste.
|
A French slang term =
which denotes a pupil of the |
$H Initial. <= /h1>
|
A letter which begin=
s a
chapter. The initial letters of manuscripts were often enriched with
paintings, while some formed the subjects of beautiful miniatures and sma=
ll
pictures of wonderful perfection of workmanship. In some printed works the
initials form exquisite vignettes composed with taste and engraved with c=
are.
[Capital.](1891a1) |
$H Ink.
|
|
|
A black liquid more =
or less
intense, which consists of a mixture of gall‑nut, sulphate
of indigo, green copperas, and gum arabic, us=
ed
both for writing and printing.(1891a1) |
--- $H In= k, Coloured.
|
Mixtures of powdered=
colours and varnishes of various kinds, used in typ=
ographic
grid lithographic printing.(1891a1) |
--- $H In= k, Lithographic.
|
Ink composed of a mi=
xture of
soap, tallow, and lamp‑black, diluted with pure water. It should be
used at once, as it rapidly thickens and decomposes.(1891a1) |
--- $H In= k, To. Engraving
|
(Engrav.)
To smear ink by means of a pad over a copper‑plate; to pass a roller
impregnated with ink over the surface of an engraving in relief or over a
lithographic stone upon which a drawing has been executed with pen and ink or lithographic crayon.(1891a1) |
--- $H In= k, Vignette. =
|
A mixture of lampbla=
ck and
oil containing resin in solution used in printing vignettes engraved on
wood.(1891a1) |
$H Inkuki.
|
The Accadian n=
ame of
a city or district, the site of which is not known. (1876c1) |
$H Inlaid Pavement. Architecture
|
(Arch.) Pavement whi=
ch consists of variously coloured tiles inlaid to form geometrical patterns.=
ILLUS. inlaidpa(1891a1)
|
![](3D"inf_files/image019.gif")
$H Inlay.
|
A term applied to th=
e piece
of wood, metal, or ivory which is inserted in panels of wood in the proce=
ss
of inlaying.(1891a1) |
$H Inlaying.
|
Inserting ornaments =
in wood‑work
for decorative furniture. (See BOULE, MARQUETRY.)(1883m1) |
|
A method of decorati=
ng
furniture, which consists in incising patterns on the surface of wood and
filling the spaces thus formed with pieces of variously coloured
wood, ivory, metal, &c.(1891a1) |
$H In Lure. Heraldry
|
Her. Wings conjoined=
, with
their tips drooping.(1883m1) |
$H Innin. Akkad
|
In Accadian my=
thology
an evil demon, a species of Lemure or hobgobl=
in.
(1876c1) |
$H Innumau. Egypt
|
A fortress belonging to the Rotennu, which was conquered by Thothmes
III., and its revenues given to the |
$H Inoa. Greek
|
Greek festivals in <=
span
class=3DSpellE>honour of Ino, esp. on =
the
Corinthian Isthmus; they consisted of contests and sacrifices. (See
MATRALIA.)(1883m1) |
$H In Pretence. Heraldry
|
Her. Placed upon, an=
d in
front of.(1883m1) |
$H In Pride. Heraldry
|
Her. Having the tail displayed, as a peacock's. The illustration is the device of Joan of Castile: "A peacock, in his pr= ide, upon the terrestrial globe." (Fig. 398.) Fig. 3= 98. Peacock in pride.(1883m1)
|
![](3D"inf_files/image020.gif")
$H Inscribe. =
|
To draw a geometrica=
l figure
within another geometrical figure, so that there are some points of conta=
ct
between them.(1891a1) |
$H Inscription. Architecture
|
(Arch.) Words engrav=
ed on a
tablet of marble or on a surface reserved for the purpose on an entablatu=
re,
indicating the purpose of a building, perpetuating the memory of an event=
, or
fixing a date.(1891a1) |
$H Insensati of Perugia.
|
One of the Italian l=
iterary
academies. Their device was a flock of cranes, arranged in order, flying
across the sea, each with a stone in its foot and sand in its mouth. Mott=
oes,
"Vel cum pondere"
(even with this weight), or "Iter tutissimum," in allusion to Pliny's statem=
ent
that the cranes used stones and sand for ballast,
"wherewith they fly more steadily and endure the wind."(1883m1)=
|
$H Insignia.
|
R. (in, and signum,
a mark). Generally, any object which serves as a mark or ornament for
distinguished persons; a ceremonial badge, a badge of office, &c. (See
ENSIGNS.)(1883m1) |
$H Instantaneous Photography. [See Photograph= y, Instantaneous.] (1891a1)
$H Instruments.
|
A general term appli=
ed to
boxes of compasses, squares, rules, &c., which are used by artists and
architects, as well as to graphometers, level=
s,
&c., employed in surveying.(1891a1) |
$H Insubulum.
|
R. A weaver's beam or
roller, round which he rolled the cloth as it was made.(1883m1) |
$H Insula.
|
=
R. A
house, or block of houses, having a free space all round them. [Under the emperors the word domus meant any house, de=
tached
or otherwise, where a family lived; and insula meant a hired lodg=
ing.]
(1883m1) |
$H Intaglio.
|
It. A stone in which=
the
engraved subject is sunk beneath the surface, and thus distinguished from=
a
cameo, which is engraved in relief.(1883m1) |
|
A precious stone, de=
corated
with figures, &c., depressed below the surface. The stones used for s=
eals
are instances of intaglios. The intaglio is the reverse of the cameo
(q.v.).(1891a1) |
$H Intaglio‑relievato.
|
(It.), or cavo‑relievo=
.
Sunk‑relief, in which the work is recessed within an outline, but s=
till
raised in flat relief, not projecting above the surface of the slab; as s=
een
in the ancient Egyptian carvings.(1883m1) |
$H Intaphres.
|
A general of Darius H=
ystaspes,
who subdued the rebel Arakhu, which see. (187=
6c1) |
$H Intense Blue.
|
A preparation of ind=
igo,
very durable and transparent.(1883m1) |
$H Intense Madder Purple. (See MADDER.) (1883m1)
$H Intercolumniation. Architecture
|
Arch. The space betw=
een two
columns. This space varies according to the orders of architecture and the
taste of the architect. According as the space is greater or less between=
the
columns of a temple, the latter is called aerostyle, eustyle, systyle, and pycnostyle.
Generally speaking, in the monuments of antiquity, whatever be the
intercolumniation adopted, the space comprised between the two columns wh=
ich
face the door of the building is wider than the intercolumniation at the
sides.(1883m1) |
|
The space between two
columns. The intercolumniation is measured from the axis of one column to=
the
axis of the next, and varies in the different orders, the unit of
measurement, or module as it is called, being half the diameter of the
column, The intercolumniation is less in Doric buildings, where an effect=
of
strength and dignity is aimed at, than in buildings of the Ionic or
Corinthian style. [Araeostyle; Eustyle;
Pychostyle.] ILLUS. intercol(189=
1a1)
|
![](3D"inf_files/image021.gif")
$H Interior.
|
A term applied to genre pictures (q.v.) representi=
ng the
inside of churches or palaces or more generally scenes of cottage life. T=
he
term also denotes those pictures in which perspective plays an all‑=
important
part, such as Panini's Interior of St. Peter'=
s at |
$H Inter‑joist. Architecture
|
(Arch.) The space be=
tween
two joists.(1891a1) |
$H Interleave.
|
To place leaves of w=
hite
paper between the pages of a volume, or .between the engravings in an alb=
um,
before having them sewn or bound.(1891a1) |
$H Intermetium.<= span style=3D'mso-spacerun:yes'>
|
R. The long barrier =
running
down the arena of a circus between the two goals (metae). (See |
$H Inter‑modillion. Architecture
|
Inter‑modillio=
n.
(Arch.) A vacant space between two modillions (q.v.).(1891a1) |
|
Intermodillions, Arc=
h. The
space included between two modillions (projecting brackets in the Corinth=
ian
order). This space is regular, and often decorated with various ornaments=
. In
the Romano‑Byzantine and Renaissance styles, modillions are often
united by arcades.(1883m1) |
$H Interpretation.
|
The manner in which =
an
artist renders or expresses nature according to his personal sentiment; f=
or
nature can never be interpreted with rigorous accuracy. Art is necessarily
and on all occasions an interpretation of nature, but an interpretation w=
hich
aims at being happy rather than literal.(1891a1) |
$H Interpreted.
|
A term used of the m=
anner in
which a figure, subject, scene, or group is executed, painted, or sculptu=
red.
Thus we say of an artist that he has interpreted a scene well, of a lands=
cape
or effect of light that it is badly interpreted.(1891a1) |
$H Intersection.
|
The point common to =
two
lines which cut one another; a line common to two surfaces which meet one
another. In architecture the term intersection is particularly applied to
that part of a church where the nave and transepts cut one another at rig=
ht
angles. [Crossing.](1891a1) |
$H Interstice.
|
An interval of small
dimensions.(1891a1) |
$H Inter‑tie. Architecture
|
(Arch.) A piece of wood or iron
which holds together crosswise two other pieces of wood or iron. <=
span
style=3D'font-family:Arial;mso-bidi-font-family:"Times New Roman";mso-no-=
proof:
no'>ILLUS. intertie(1891a1)
|
![](3D"inf_files/image022.gif")
$H Intertignium.= Architecture
|
R. The space between=
the tie‑beams
(tigna)
in the wood‑work of a roof.(1883m1) |
$H Interula.
|
R. (interior, inner). An under‑tunic; a kind of flannel che=
mise
worn by both men and women.(1883m1) |
$H Intestinum.
|
Intestinum (opus), R=
. (intus, =
within).
The inner fittings or work of any kind in the inside of a house, and then=
ce
wood‑work, JOINERY.(1883m1) |
$H Inti or Punchau. Peruvian
|
Peruv. The Sun or supreme god, inferior deities bein=
g called
conopa
and canopa.
The temple of the Sun was called Inti‑huasi (house of the Sun); it comprised seven
principal divisions; the inti or sanctuary, situated in the centre of the templ=
e;
the second division was called ma=
ma‑quilla, from the fact of its being dedicated to=
the
moon, which was thus named; the third was dedicated to the stars, called =
cayllur=
; the
fourth to the thunder, and called illapa; the fifth to the rainbow, and called ckuichi=
; the
sixth division was occupied by the chief priest (huilacuma); the seventh a=
nd
last division formed the dwelling of the priests. Fig. 399. Part of the Façade of the Peruvian temple Inti‑huasi.(1883m1)
|
![](3D"inf_files/image023.gif")
$H Intrados. Architecture
|
(Arch.) The concave =
surface
formed by the voussoirs of an arch from the s=
pringing
line to the keystones.(1891a1) |
$H Intransigeant.
|
A name given in |
$H Intronati of Siena .
|
One of the Italian l=
iterary
academies. Their device was a gourd for containing salt, with the motto,
"Melior=
a latent" (the better part is
hidden).(1883m1) |
$H Invected. Heraldry
|
(Her.) This name is =
given to
one of the dividing or partition lines on a shield. It consists of a seri=
es
of curves terminating in cusps. They may be small and numerous, or few and
large, as here shown. ILLUS. invected(1891a1)
|
![](3D"inf_files/image024.gif")
$H Invention.
|
A term applied to th=
e manner
in which an artist composes a scene or imagines a subject. A picture, the
subject of which is feebly composed and badly realis=
ed,
is said to lack invention. When we speak of a charming invention, we mean=
an
excellent idea, a scene which is spirituelle and happily treated.(1891a1) |