$H Loaded. Painting
|
(Paint.) A canvas is=
said to
be loaded when the paint is l=
aid
thickly upon it. By loading a canvas in certain parts strong shadows may =
be
obtained, which add to the effect of the picture. [Impasto.](1891a1) |
$H Loaves.
|
Loaves, in Christian=
art,
are the emblems of charity to the poor; the attribute of St. Philip the
Apostle and other saints.(1883m1) |
$H Lobe.
|
Lobe. [See Foils.] (=
1891a1) |
|
Lobe (of an arch), F=
r.; Anglicé foil;
e.g. a trefoil arch is arc trilobé.(1883m1) |
$H Local Colour.=
|
Local Colour.
[See Colour, Local.] (1891a1) |
|
Local Colour
is the real fundamental colour of an object,
considered apart from all accidental variations of light and reflexion.(1883m1) |
$H Locellus.
|
R. A box or casket; =
this
term is a diminutive of LOCULUS.(1883m1) |
$H Lochaber Axe.=
|
A short pole with a =
sharp
axe at one end, an ancient weapon of the Highlanders of Scotland.(1883m1)=
|
$H Lock.
|
A contrivance for ma=
king
fast a door. It consists of a metal bolt turned by a key. The works of the
lock are generally hidden in the thickness of the wall and only a plate
shows, which is frequently ornamented.(1891a1) |
$H Locker.
|
Locker. [See Credentia.]
(1891a1) |
|
Locker, Chr.
Arch. A cupboard for sacred vessels generally left in the thickness of the
wall on the north side of the altar of a church. (See SECRETARIUM.)(1883m=
1) |
$H Locking up.
|
Any process by which=
a colour, liable to be affected by damp, can be rende=
red
durable.(1883m1) |
$H Loculamentum.=
|
R. (loculus, a little place).=
Any
box, chest, or case, the interior of which is divided into
compartments.(1883m1) |
$H Loculus.
|
R. (dimin.
of locus, a place). (1) A cof=
fin,
generally of stone. (See SARCOPHAGUS.) (2) A compartment in the manger of=
a
stable. (3) A small chest fitted with compartments.(1883m1) |
$H Locutorium.
|
Chr. Of a convent, &c., the parlour.(1883m1) |
$H Lodged.
|
Her. Said of animals=
of the
chase in repose. The illustra=
tion
shows the favourite badge of Richard II.: a w=
hite
hart chained, and in an attitude of rest. "This device is repeated i=
n Westminster Hall 83 times; and a=
ll are
equally consistent with heraldic truth and accuracy, without any of them
being an exact counterpart of any other." (Boutell, English Heraldry.) (Fig. 428.) Figs.428, 429. Badge of Ric=
hard
Il. in
|
![](3D"lo_files/image029.gif")
$H Lodur. Scandinavia<=
/st1:place>
|
Another name of the Scandinavian deity |
$H Loegria.
|
O.E. England. (Geoffry=
of Monmouth.)(1883m1) |
$H Lofe. Scandinavia<=
/st1:place>
|
In Scandinavian mythology the goddess of l=
ove.
She instituted the ceremony of matrimony. (1876c1) |
$H Loft.
|
(Arch.) A term appli=
ed to a
garret or small room in the roof of a building or to a gallery in a churc=
h or
hall, such as a rood‑loft, a music‑loft, &c.(1891a1) |
$H Log. Assyria
|
An Assyrian measure of capacity, containing
ten baru=
,
equal to nine aru,
or perhaps equal to eight arrat. (1876c1) |
$H Log=
an
|
(properly logging stones, from O.E. log, to oscillate). ROCKING STON=
ES
(q.v.).(1883m1) |
$H Loge.
|
(Arch.) A French ter=
m which
denotes in theatrical architecture what is called in English a box ‑ a small room closed =
on
three sides and open only in the direction of the stage. ILLUS. loge(1891a1)
|
![](3D"lo_files/image030.gif")
$H Logeum.
|
Gr. (8@(,Ã@<[=3Dlogeion]). A Gr=
eek term
synonymous with PULPITUM (q.v.).(1883m1) |
$H Loggia.
|
It. The gallery, or
corridor, of a palace.(1883m1) |
|
(Arch.) A gallery or=
portico
projecting from a building and sometimes decorated with paintings. The te=
rm
is also applied to the paintings themselves. Thus we speak of the loggias=
of
Raphael at the
|
![](3D"lo_files/image031.gif")
$H ΛΟΓΙΑ ΙΗΣΟΥ ($H Lo=
gia Iesou) &n=
bsp;
Egypt
|
ΛΟΓ&#=
921;Α
ΙΗΣΟΥ (Logia Iesou). A fragment of a pap=
yrus
book found at the site of the ancient Oxyrhynchus,
the modern Behnesa, containing "Sayings =
of our
Lord," and dating back in all probability to A.D. 300. Discovered and
edited by Messrs. Grenfell and Hunt.(1902b1) |
$H Lohrasp.
|
The name given by the Persian mediaeval
historians to Auravadaspa, king of |
$H Lokman.
|
In Arabian history the founder of the seco=
nd
great Adite nation. He reigned over the few w=
ho believed
in the prophet Hud, and is said to have gover=
ned
for a thousand years. He built a great dyke to restrain the mountain torr=
ents
by which the former Adites had been swept awa=
y, and
there founded the city of |
$H Lombard Architecture or L=
ombard
Style.
|
|
|
|
$H Longinus, St.=
|
The name given in the
legends of the early Church, upon no authority, to the centurion who pier=
ced
the side of our Lord and who spoke the words, "Truly this man is the=
Son
of God." He is frequently represented in pictures of the crucifixion
wearing the dress of a Roman soldier and carrying a spear in his hand.(18=
91a1) |
$H Loophole. Architecture
|
(Arch.) A long narrow
opening in the walls of fortified castles, through which archers discharg=
ed
their arrows. When they were cruciform, so that missiles could be dischar=
ged
from them in every direction, they were called balli=
straria
(q.v.). ILLUS. loophole(1=
891a1)
|
![](3D"lo_files/image032.gif")
$H Loops, Loups.
|
Loops, Loups. Arch. =
Another
name for CRENELS (q.v.), or embrasures.(1883m1) |
$H Lord.
|
The word is Saxon; f=
rom hlaf or=
klaf, a=
loaf of
bread; and ford, to give; hen=
ce it
means originally bread‑give=
r.(1883m1) |
$H Lorica.
|
Gr. and R. (= lorum, a thong). A cuirass; it was made either ‑ for officers, of two (= b"= 8"[=3Dguala], the breast and back&#= 8209;pieces; or, for the soldiers, of a number of small metal scales or bands, fastened together with rivets or rings, and flexible. Among the Asiatics the cuira= ss was frequently made of cotton; and among the Sarmatians, and other nation= s, of horn. Fig. 430. Gallic cuirass in the Louvre. Fig. 431. Fragment of a Gallic cuirass= .(1883m1)
|
![](3D"lo_files/image033.gif")
![](3D"lo_files/image034.gif")
$H Lorimers.
|
O.E. Bit‑maker=
s.(1883m1) |
$H Lo=
rraine
|
A cross with two pro=
jecting
arms on each side.(1883m1) |
$H Lo=
rraine
|
Lorraine Glass for p=
ainted
windows; obtained from the Vosges as early as=
the
13th century, and then called |
$H Losna.
|
The Latin Moon-goddess. Her figure is foun=
d on
a mirror from Praeneste, which is erroneously
supposed to be Etruscan. (1876c1) |
$H Lost Wax Process.
|
A process of bronze =
founding
in which the core is covered with an accurate representation of the objec=
t to
be cast in wax, the wax being of the intended thickness of the metal. The=
wax
is then coated with a porous clay and the whol=
e mass
is put in a pit and baked. During the process of baking the wax melts and
runs off through apertures left for the purpose. The space left after the=
wax
is melted is occupied by the metal. This, the oldest method of bronze
founding, is probably the best, and in the present day it is being pretty
generally adopted. In the method, which for some time has been in vogue, =
the
core was made of the exact size of the object to be cast and afterwards p=
ared
down, so as to leave space for the metal to run in between the core and t=
he
mould. [Founding.](1891a1) |
$H Lota.
|
A sacred utensil in =
|
$H Lottinoplastic.
|
A method of moulding invented in 1833 by the littérateur=
and traveller, Lottin de La=
val. It
consists in taking an impression of an object by means of damp sheets of
paper placed one over the other upon the object and successively plugged =
with
a brush. When the sheets of paper have acquired the consistency of cardbo=
ard they
can be withdrawn, and when they are dry may be rolled up. Lottinoplastic
is of service in the reproduction of statues of bas‑reliefs, and it=
has
the great advantage, for travellers at least,=
of
furnishing moulds easy to carry and of trifling weight.(1891a1) |
$H Lotus.
|
Lotus. The leaves and
flowers of the lotus plant are frequently employed for decorative purpose=
s in
the buildings of
|
|
Lotus (=
8T=
J`=
H[=3Dlotos]).
The lotus is a frequently recurring cyma
in Hindoo architecture. In Egyptian archaeology, the lotus, of which two
partially opened buds may be seen in Fig. 432, was the symbol of the risi=
ng
of the sun, of fertilization, life, and resurrection. The lotus appears in
the ornamentation of the largest as well as of the smallest monuments of
Egyptian art; and is the motive of many of the columns and capitals of the
temples and palaces of a certain period, as well as of the decoration of
vases and other small objects. Three lotus‑stems issuing from a bas=
in
symbolized
|
|
The
true Egyptian lotus is the Nymphoea Lotus=
,
a white flower, of which the Nymphoea Coerula is the blue variety. It is quite differ=
ent
from the so-called rose lotus, which is really the Nelumbium Speciosum, and not a lotus. It w=
as
held sacred, because the Egyptians saw in it a symbol of the rising again=
of
the sun. As such, it is found on the head of the god Nefer
Tum; and Horus is
represented issuing from its cup. It was the original motive of much Egyp=
tian
decorative work, and by this means has had a
far-reaching influence on ancient art. Both from the bud and full-blown f=
orms
Egyptian architects designed capitals for columns: and in ornaments, large
and small, it is found in great variety. Ladies are represented with it in
their hands, and it figures on altars of offerings. As an amulet it signi=
fied
the divine gift of eternal youth. The most realistic representations of t=
he
plant are so conventional in form that it is difficult to distinguish bet=
ween
it and pictures of the papyrus plant.(1902b1) |
![](3D"lo_files/image035.gif")
![](3D"lo_files/image036.gif")
![](3D"lo_files/image037.gif")
$H Louis d'Or.
|
Fr. A gold coin, val=
ue about
20s., first struck in 1640.(1=
883m1) |
$H Louis Quatorze.
|
Arch.=
A
style of ornament developed towards the close of the 17th century (1643&#=
8209;1715).
It is described as "essentially an ornamental
style, its chief aim being effect by a brilliant play of light and shade;
colour, or mere beauty of form in detail, having no part in it. This style
arose in Fig.
433. Heraldic Decoration at
|
![](3D"lo_files/image038.gif")
$H Louis Quinze.
|
Arch. This style (17=
15‑74)
is the exaggeration of the Louis Quatorze,
rejecting all symmetry, and introducing the elongation of the foliations =
of
the scroll, mixed up with a species of crimped conventional coquillage or
shell‑work. The style found its culmination in the bizarre absurdit=
ies
of the Rococo.(1883m1) |
$H Louis Treize Style.<= /span>
|
Louis Treize
Style (Arch.), a French version of Italian art, prevailed from 1625 to 16=
50,
and produced Jean le Pautre, the ornamentist,
and the following styles: ‑ (1883m1) |
$H Loups, Loops.
|
Loops, Loups. Arch. =
Another
name for CRENELS (q.v.), or embrasures.(1883m1) |
$H Louvre.
|
Arch. The open turre=
t in the
roofs of ancient halls, through which the smoke escaped before the
introduction of modern chimneys.(1883m1) |
|
(1.) A name given to=
the
palace of the Louvre in (2.) (Arch.) A small=
lantern
or turret placed on the roof of halls in ancient houses, in order to carry
away the smoke which rose from the open hearth.(1891a1) |
$H Louvre‑boardin= g or Luffer‑boarding.
|
Louvre or Luffer Boarding=
. [See Abat‑son.] (1891a1) |
|
Louvre‑boarding or Luffer‑boarding, Arch. A series of overlapping boards sloping fr=
om the
top downwards, and from within outwards, and fixed in a framework of timb=
er.
They are placed in the apertures of towers and belfries for the sake of
ventilating the timbers, and are sloped to prevent rain and snow from
penetrating within, and to direct the sound of the bells downwards. Somet=
imes
the wooden boardings are covered with lead, s=
late,
or zinc, in order to preserve them.(1883m1) |
$H Louvre‑window,= Belfry‑arch.
|
Arch. The large ligh=
ts
fitted with louvre‑boarding in
belfries.(1883m1) |
$H Love‑apple.
|
The tomato is so
called.(1883m1) |
$H Love‑feast.
|
An annual feast cele=
brated
in parishes in |
$H Love‑in‑Idleness.
|
O.E. The heart'sR=
09;ease.(1883m1) |
$H Love‑knot.
|
A complicated figure=
by
which an interchange of affection is supposed to be figured.(1883m1) |
$H Lovel.
|
O.E. A dog. "The Ratte, the Catte, and Lovell o=
ur
dogge, Rule all |
$H Love‑lies‑bleeding.
|
O.E. A flower; a kin=
d of
amaranth.(1883m1) |
$H Love‑lock.
|
A long ringlet of ha=
ir worn
on the left side of the head, and allowed to stream down the shoulder
sometimes as far as the elbow. The love‑lock is mentioned in Queen
Elizabeth's reign. "Will you be Frenchified,
with a love‑lock down to your shoulders, wherein you may weave your
mistress's favour?" (Quip for an Upstart Courtier.) "Why should thy sweete =
love‑locke hang dangling downe, Kissing thy girdle‑stud with falling pride? Although thy skin be white, thy hai=
re
is browne; Oh, let not then thy haire t=
hy beautie hide." (The
Affectionate Shepheard.)(1883m1) |
$H Lovers' Knots. Heraldry
|
(Her.) A cord intert=
wined
and terminated in a knot at each end.(1891a1) |
$H Lowe=
stoft
Ware.
|
From a
fine clay found near |
$H Low‑relief.
|
An express=
ion synonomous with bas‑relief, denoting sculptur=
ed
ornaments which have but a slight projection. [Bas‑relief.](1891a1)=
|
$H Low‑side Window or Low Side‑window.<= /span> Architecture
|
Low Side‑window, Arch.
A peculiar small window found in many churches near the west end of the
chancel, and very near the ground. It was never glazed, but closed with
wooden or iron gratings. Its object has never been ascertained. Most of t=
he
examples are of the 13th or 14th century. (See Archaeological Journal, vol. iv. p. 314.)(1883m1) |
|
Low‑side Windo=
w.
(Arch.) A small window which is frequently to be seen at the west end of =
the
chancel in Gothic churches. It was low down in the wall near the ground a=
nd
had no glass in it, being closed either with bars or shutters. It is said=
to
have served some ecclesiastical purpose in the time before the Reformatio=
n,
but if it did so this purpose has long been forgotten.(1891a1) |
$H Low Sunday.
|
Chr. The Sunday next after Easter.(1883m1) |
$H Low‑warp.
|
A process of weaving
tapestries in wool or silk, in which the warp is horizontal, the warp bei=
ng
vertical only in high‑warp tapestries. The principal advantage in t=
he
process consists in the relative speed in the work and consequently in its
cheapness compared with the high‑warp process. On the other hand, l=
ow‑warp
is inferior to high‑warp tapestry from the point of view of style. =
But
this inferiority does not strike the untrained eye, and it is only by min=
ute
details that it is possible to distinguish the two methods of manufacture.
The low‑warp process is exclusively employed at |
$H Lozenge.
|
Lozenges. A term in wood‑=
;engraving
for a class of fine gravers used for outlines and very fine shading.(1883=
m1) In
Heraldry, the diamond‑shaped figure used for a shield to display the
arms of spinsters and widows. The lozenge
is always placed upright on the shield, and its true proportions are as 5=
to
4. (See MASCLE.)(1883m1) |
|
Lozenge. (1.) A geom=
etrical
figure having four equal sides. Its opposite angles are equal, two being
obtuse and two acute. ILLUS. lozenge1
(2.)
(Arch.) A name given to certain sculptured mouldings=
which consist of lozenges placed side by side. Lozenge mouldings
are most frequently met with in the Romanesque style. The term is also
applied to plates of metal cut out in lozenge patterns, which cover the r=
oofs
of spires, domes, cupolas, &c. ILLUS. lozenge2
(3.)
(Her.) The lozenge is a diamond‑shaped quadrilateral figure, and is=
one
of the heraldic subordinaries.
It must be distinguished from the fusil,
which is much more tapering in form, and also from the mascle and rustre, which are always
pierced. When the whole field of an escutcheon is covered with lozenges, =
as
in the cut, it is said to be lozengy. ILLUS. lozenge3(1891a1)
|
![](3D"lo_files/image039.gif")
![](3D"lo_files/image040.gif")
![](3D"lo_files/image041.gif")
$H Lozenge Moulding or = Lozenge Fret.
|
An ornament used in =
Norman
architecture, presenting the appearance of diagonal ribs, enclosing diamo=
nd‑shaped
panels.(1883m1) |
$H Lozengy. Heraldry
|
Her. A field divided=
lozenge‑wise.
(Fig. 434.) Fig. 434. Shield of Hubert de Burgh, Earl of Kent.(1883m1)
|
![](3D"lo_files/image042.gif")