$H Lion. Egypt

In ancient times there must have been many lions in the desert and in Ethiopia= , for there are records of lion-hunts, with immense bags as the result. Some historical scarabs of Amen-hetep III. record that during his reign he caught or killed a h= undred and two lions. The animal is often seen upon temple and tomb walls. The k= ing is frequently accompanied by a favourite tame lion into battle, and the s= ame animal reposes under his chair at home. It was also apparently used in the chase, as seen on tomb walls. The Egyptian artist was more successful in drawing this beast than in many of his animal portraits. In papyri two li= ons seated back to back, with the solar disk between them, is a frequent vignette. Over one is written "Yesterday," and over the other "This Morning." Shu and Tefnut are also depicted as two lions. The solar goddesses Sekhet, Tefnut= , Pakht and Bast ar= e all at times represented with the lioness-head.(1902b1)

$H Lion.

Lion. (Her.) The lio= n is the most common of heraldic charges, having been always highly esteemed by heralds. The several positions in which lions are represented are each denoted by special words of French origin, to which it is customary, howe= ver, to give an Anglicised pronunciation. Lions ar= e said to be armed when their claws = are of a different tincture, langued when their tongue shows, and disa= rmed when they have neither claws nor tongue. Unless otherwise specified, lion= s, like other heraldic charges, are always represented looking towards the <= span class=3DSpellE>dexter side of the shield.(1891a1)

Lion, O.E. (from lie on). The main beam of a ceil= ing.(1883m1)Lions, in Christian art, typify the resurre= ction of the Redeemer; because, according to an oriental fable, the lion's cub = was born dead, and in three days its sire licked it into life. The lion also typifies solitude, and is therefore the attribute of hermits; and as the = type of fortitude and resolution it was placed at the feet of martyrs.(1883m1)=

Lion. In Heraldry, the lion couchant represents sovereignty; rampant, magnanimity; passant, resolut= ion; guardant, prudence; saliant= , valour; seiant, counsel; and regardant, circumspection= . (See LEOPARD, MARZOCCO.) Fig. 425. Heraldic Lions. Rampant. Statant guardant. R= ampant guardant. Passant guardant. Statant. Passant.(1883m1)

--- $H Lion Couchant.

The lion couchant is represented as lying down, its front paws stretched out straight on the ground and its head raised up. ILLUS. lion1cou(1891a1)

<= /o:p>

--- $H Li= on Dormant. <= /h2>

A lion dormant is represented in heraldry as lying down in an attitude of sleep, with its h= ead laid upon its front paws. ILLUS. lion1dor(1891a1)

<= /o:p>

--- $H Li= on Passant. <= /h2>

A lion in this attit= ude is shewn walking with the right fore paw raised, as represented in the accompanying cut. ILLUS. lion1pas(1891a1)

<= /o:p>

--- $H Li= on Passant Gardant.

In this position the= lion differs from the lion passant= in that his head is turned towards the spectator instead of being seen in profile. An illustration of this is given under the word Leopard (q.v.) The arms of England are: Gules, three lions passant gardant in= pale or.(1891a1)

--- $H Li= on Passant Regardant.

Here the lion resemb= les the lion passant except that he is looking backwards towards his tail, that i= s to the sinister side of the shield.(1891a1)

--- $H Li= on Rampant. <= /h2>

In this well‑k= nown position the lion is reared up on his hind legs, with his weight on the <= span class=3DGramE>left ; the two fore legs are elevated, the right abo= ve the left. The arms of = Scotland are: Or, within a tressure fleury counter‑fleury, a lion rampant gules. ILLUS. lion1ram(1891a1)

<= /o:p>

--- $H Li= on Salient. <= /h2>

The lion salient is = reared up as the lion rampant, but w= ith this difference, that both the hind paws and the fore paws are placed together as they would be for a leap. ILLUS. lion1sal(1891a1)

<= /o:p>

--- $H Li= on Sejant.

A lion sejant is represented sitting down on the haunches with its fore legs firmly pla= nted on the ground and looking toward the dexter s= ide of the shield. ILLUS. lion1sej(1= 891a1)

<= /o:p>

--- $H Li= on, Statant.

A lion in this posit= ion is shown in profile, his feet planted firmly on the ground and his face turn= ed towards the spectator. ILLUS. lion1sta(1891a1)

<= /o:p>

$H Lioncel. Heraldry

Her. A lion drawn to= a small scale, generally rampant.(1883m1)

(Her.) A lioncel is a lion's whelp. In he= raldry a lion is represented alone on a shield, but lioncels appear two together. Our cut represents two lioncels addorsed. ILLUS. lion2cel(1891a1)

<= /o:p>

$H Lip Moulding.= Architecture

Arch. So called from= its resemblance to an overhanging lip. It is common in the Perpendicular period.(1883m1)

$H Liquid Madder Lake or Rubiate.

A brilliant roseR= 09;coloured pigment, used in oil or water‑colour painting.(1883m1)

$H Liripipes. Old English

O.E. The long tails = of hoods, which hung down the back. Worn also by the Italians. (Fig. 426.) <= o:p>

Fig. 426. Liripipes. Italian, 16th century.(1883m1)

<= /o:p>

$H L‑iron. Architecture

(Arch.) A bent piece= of metal used to strengthen angles formed by pieces of wood or iron placed perpendicularly to one another. ILLUS. L-iron(1891a1)

<= /o:p>

$H Lishana-shel-imrani.=

A peculiar Hebrew or = Targum dialect, used by the modern Jews of Kurdistan. (1876c1)=

$H List and Listel.

List, Arch. A straig= ht upright ring encircling the lower part of a column, just above the torus, and next to the shaft.(1883m1)

Listel. (Arch.) A plane = moulding, semi‑rectangular in profile, which separates a concave or convex moulding. [Fillet.] The term is also applied to tha= t part of the shaft of a column which occupies the interval between the flutings.(1891a1)

List, Listel, Arch. A small square moulding, also called a = fillet. Fig. 427 represents a ba= se, the ornamentation of which is made up of numerous listels or fillets. Fig. 4= 27. Listels.(1883m1)

<= /o:p>

$H Litanies of Seker. Egypt

See FESTIVAL SONGS OF ISIS AND NEPHTHYS.(1902b1)

$H Litany Stool.

In a church, a small= low desk at which the Litany was sung.

"The priest goeth from = out of his seat into the body of the church, and (at a low desk before the chanc= el door, called the faldstool) kneels and says or sings the Litany." (Eliz. xviii. 1559.)(18= 83m1)

$H Literature. Egypt

Numberless papyri have been found in Egypt, the greater part of which relate to religious matters. This is natural, s= ince these documents were buried with the dead, and were then well preserved. = But on account of the perishable material on which literature finds its expression, what is left to us must be but a small proportion of the "books" of ancient Egypt. There is plenty of evidence that the art of literature was practised at a very early time, nor is it likely that other arts, such as that of sculpt= ure, should have reached such perfection, and the writer's art have remained undeveloped. Of the papyri that remain the subjects are very varied. There are moral precepts (see PTAH-HETEP), hymns and love-songs, mathematical and medical treatises, judicial inquiries, religious works, one epic (see PENTAUR), letters, literary criticism and fiction. The dr= ama, alone is unrepresented. (See PAPYRI.)(1902b1)

$H Literatus or Litteratus.

R. (litera, a letter). In gen= eral, anything that is marked with letters; and thence (1) a slave who has been branded on the forehead with a hot iron, also called inscriptus, notatus, stigmatus.

(2) A grammarian, le= arned man, or commentator.(1883m1)

$H Litharge.

An ingredient of drying‑oil (q.v.).(1883m1)=

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

Another name for CHR= OMOLITHOGRAPHY, or colour‑printing.(1883m1)<= /span>

A process the object= of which is to produce imitations of pictures. To attain this end lithograph= ic proofs are struck off on paper rendered transparent by thick varnish; oil= ‑colour is then applied in thick coatings to the wro= ng side of these proofs, which are finally sized down upon canvas and varnis= hed in the ordinary way.(1891a1)

$H Lithochromography.

A term applied to colour‑printing on stone. It is generally cal= led chromolithography (q.v.).(1891a1)

$H Lithochrysography.

The art of printing = in gold and colour on stone.(1891a1)

$H Lithocolla.

A cement by means of= which lapidaries fix down the gems which they are cutting to the grindstone.(1891a1)

$H Lithoglyph.

An engraved gem.(189= 1a1)

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

The art of engraving= upon precious stones.(1891a1)

$H Lithograph.

A print struck off f= rom a lithographic stone.(1891a1)

$H Lithographic Stone.

The stone used by lithographers comes for the most part from Solenhofe= n in Bavaria and from various places on = the Danube. It is of a yellowish gray colour, and it is essential that it should have a uniform surface and be entirely free from veins and spots.(1891a1)

$H Lithography.

A branch of the art = of engraving in which the drawing to be reproduced is traced upon a stone in= an oily ink or crayon. The stone is damped, and the printer's ink only adher= es to those portions of the stone where the design is drawn. Prints are then struck off in the usual manner. The process was invented in 1796 by a Ger= man named Senefelder. In the present day it must chiefly be regarded as a branch of industrial art, for it is used princip= ally in the production of cheap illustrations. But it has been adopted by many brilliant artists. The French draughtsmen, Prudhon, Géricault, Delacroix, Vernet, and G= avarni, all executed lithographs, which can really be regarded as proofs of origi= nal drawings. Unfortunately only a limited number of copies can be printed fr= om the stone without destroying the delicacy of the drawing. Some engravings have been executed on stone in the ordinary way, i.e. the graver has been employed to incise lines on stone. T= his process, however, cannot be recommended, as it entails considerable labour and is inferior in its results to ordinary l= ine engraving.(1891a1)

Lithography, or draw= ing on stone, was invented by Aloys Senefelder of Munich in 1796. Drawings are made on a polished surface of calcareous stone, with i= nk and chalk of a soapy nature. The = lithographic ink is made of tallow‑soap, pure white wax, lamp‑black, a= nd a small quantity of tallow, all boiled together, and, when cool, dissolved = in distilled water; the ingredients for the lithographic chalk are the same, with a small quantity of potash added during the boiling. After the drawing on the stone is perfectly dry, a very weak solution of sulphuric acid is poured over it,= which takes up the alkali from the ink or chalk, and leaves an insoluble substa= nce behind it, while it lowers in a slight degree the surface of the stone not drawn upon, and prepares it for the free absorption of water. Weak gum= 209;water is next applied to close the pores of the stone, and to keep it moist. The stone is then washed with water, and the printing‑ink applied in the ordinary way. It then passes through the press, the washing with water and daubing with ink being repeated after every impression. As many as 70,000 copies have in this way been taken from one stone, the last being nearly = as good as the first. Copper‑plate and steel engravings can be transfe= rred to stone. (See the article "Lithography" in the Encyclopaedia Britannica, 8th ed.)(1883m1)

$H Lithophany.

A process by means o= f which designs are modelling on plaques of porcelain= or biscuit, which are transparent, and when held up to the light display lig= hts and shades. Difference of tone is obtained by increasing or decreasing the thickness of the porcelain or biscuit. The porcelain is cast in moulds wh= ich are produced mechanically or by hand, and the whole skill of the artist in making these moulds consists in properly graduating the thickness of the plaque. The thick portions give the blacks, while the whites, which are a= lso transparent, are yielded by the thin portions.(1891a1)<= /p>

$H Lithophotography.

A process of lithogr= aphic printing in which the drawing on the stone is not executed by the artist himself, but is obtained from a photographic cliché, which leaves a proof upon the stone similar to a proof taken on sen= sitised paper. Lithophotographic proofs have the appe= arance of photographs, and sometimes are a little blurred, but they have the advantage of being permanent if they are printed in a certain kind of ink.(1891a1)

$H Lithostereotype.

A chemical process of engraving upon stone, invented by Tissier in = 1841, which also goes by the barbarous name of Tissierogra= phy. It consists in hollowing out by means of azotic acid those portions of the stone which are not covered with ink or crayon. The part in relief then stands out just like printer's type. The cliché, thus obtained can be printed from by the ordinary typograp= hic process.(1891a1)

$H Lithostrotum.=

A mosaic pavement, c= omposed of small pieces of coloured marble.(1891a1)

R. (842`‑FJDTJ@<[=3Dlitho‑stroton]). The pavement of a Roman road, and thence any ornamental pavement, mosaic, incrusted marble, coloured inlaid‑work, &c.(1883m1)

$H Lithotypography.

A process by which facsimiles of printed pages are traced upon stone either by moistening the pages of the old volume with a special chemical compound and pressing it = upon the stone or by tracing proofs freshly struck from printers' types. The s= tone is then eaten with acid as in the lithostereotype process and printed from. The advantage of lithotypo= graphy is that by it old printed books can be exactly facsimiled.(1891a1)

$H Litmus or Lacmus.

The red, violet, and= blue colours known as archil, cudbea= r, and litmus, are derived from certain lichens; litmus from = the roccella tinctoria.(1883m1)

$H Litre.

(Arch.) A French ter= m which denotes the band which ran round some churches of the Middle Ages and Renaissance period, upon which the coats of arms of the pious founders we= re painted. It is also applied to the large ornamental bands painted upon the flat surface of a wall, and especially to the vertical bands which separa= te panels. ILLUS. litre(1891a1)

<= /o:p>

$H Little Masters.

A term applied to a = group of artists who executed small designs either on wood or copper for illustrat= ive and other purposes. They flourished in the 16th and 17th centuries, and included Jost Amman, Ald= egrever, Hans Schaüfling, Ba= ldung Grün, Hans Sebald Beham, Burgmair, and Altdorfer. The majority of them worked under Dürer's influence, and their prints, though sm= all in size, are admirable in execution.(1891a1)

$H Litui. Egypt

A peculiar curved line which was drawn by = the Egyptians from the inner angle of the eye to the upper part of the cheek.= It was always appended to the mystical eye amulets of O= siris or Horus. (1876c1)

$H Liturgy.

(= 8,4J@LD(`H[=3Dleitourgos]). <= span style=3D'mso-no-proof:no'>The printed formulary according to which the pu= blic services in a church are performed.(1883m1)

$H Lituus.

The ancient counterp= art of the bishop's crosier. It was a twisted wand carried by augurs, and was us= ed for purposes of divination. When represented in works of art it is genera= lly in the form of a spiral. ILLUS. lituus(1891a1)

<= /o:p>

R. (an Etruscan word, signifying crooked). (1) A br= ass trumpet formed of a long, straight tube, but curved and opening out wide = at the end like a tobacco‑pipe. The tuba was straight, the cornu spiral.

(2) An augur's staff= curved into the form of a crook, with which they divided the expanse of the sky = into regions in their divinations.(1883m1)

$H Liverpool.

In the 17th and 18th centuries Liverpool was an important c= entre of the ceramic art. Many potteries were established there, in the majorit= y of which Delft ware was taken as a model.(1891a1)

$H Livery.

(Fr. livrée). Literally= , the distribution; that is to say, of clothes to be worn by the servants of palaces, &c. (See BADGES.)(1883= m1)

$H Livery Colours.

In the Middle Ages a= ll great houses had their own livery colours. Thus tho= se of the House of York were blue and crimson, those of the House of Lancaster white and blue, of the House of Tudor white and green, of the House of St= uart scarlet and gold.(1883m1)

$H Lion. Egypt

$H Lion.

--- $H Lion Couchant.

--- $H Li= on Dormant. <= /h2> A lion dormant is represented in heraldry as lying down in an attitude of sleep, with its h= ead laid upon its front paws. ILLUS. lion1dor(1891a1) <= /o:p>

--- $H Li= on Passant. <= /h2> A lion in this attit= ude is shewn walking with the right fore paw raised, as represented in the accompanying cut. ILLUS. lion1pas(1891a1) <= /o:p>

--- $H Li= on Passant Gardant.

--- $H Li= on Passant Regardant.

--- $H Li= on Salient. <= /h2> The lion salient is = reared up as the lion rampant, but w= ith this difference, that both the hind paws and the fore paws are placed together as they would be for a leap. ILLUS. lion1sal(1891a1) <= /o:p>

--- $H Li= on Sejant.

--- $H Li= on, Statant.

$H Lioncel. Heraldry

$H Lip Moulding.= Architecture

$H Liquid Madder Lake or Rubiate.

$H Liripipes. Old English

$H L‑iron. Architecture

$H Lishana-shel-imrani.=

$H List and Listel.

$H Litanies of Seker. Egypt

$H Litany Stool.

$H Literature. Egypt

$H Literatus or Litteratus.

$H Litharge.

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

$H Lithochromography.

$H Lithochrysography.

$H Lithocolla.

$H Lithoglyph.

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

$H Lithograph.

$H Lithographic Stone.

$H Lithography.

$H Lithophany.

$H Lithophotography.

$H Lithostereotype.

$H Lithostrotum.=

$H Lithotypography.

$H Litmus or Lacmus.

$H Litre.

$H Little Masters.

$H Litui. Egypt

$H Liturgy.

$H Lituus.

$H Liverpool.

$H Livery.

$H Livery Colours.

--- $H Li= on Dormant. <= /h2>

A lion dormant is represented in heraldry as lying down in an attitude of sleep, with its h= ead laid upon its front paws. ILLUS. lion1dor(1891a1)

<= /o:p>

--- $H Li= on Passant. <= /h2>

A lion in this attit= ude is shewn walking with the right fore paw raised, as represented in the accompanying cut. ILLUS. lion1pas(1891a1)

<= /o:p>

--- $H Li= on Salient. <= /h2>

The lion salient is = reared up as the lion rampant, but w= ith this difference, that both the hind paws and the fore paws are placed together as they would be for a leap. ILLUS. lion1sal(1891a1)

<= /o:p>