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A captain of Piankhi-=
Meramen,
king of |
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A rough sketch, whic=
h may be
easily and rapidly rubbed out.(1891a1) |
|
R. Any cup or glass =
for
drinking, distinct from the CRATER for mixing, and the CYATHUS for ladling
the wine. (Cf. POKAL.)(1883m1) |
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Gr. (B@*ZD0H[=3Dpoderes], i.e. =
reaching
to the feet). A rich linen dress worn by Greek women, the edges of which =
were
indented.(1883m1) |
|
Podium. (Arch.) A low projecti=
ng
wall, which was placed in Roman buildings both outside and inside. A podi=
um
running round the interior of a building was often used as a shelf for wi=
ne
casks. &c.(1891a1) |
|
Podium, Arch.= (B= `*= 4@= <[=3Dpodion], lit. a small foot). A low wall or basement, generally with a plinth and cornice, running round a room or in front of a building, form= ing a sort of shelf or seat. Fig. 548 shows the podium of a sepulchral chamber. In an amphitheatre, podium was the name for a raised basement which ran like a high enclosure round the whole circumference of= the arena. Lastly, the term is sometimes used as a synonym for a socle, and a console or bracket. Fig. 548. Podium running round a sepulchral chamber.(1883m1)
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Fr. (lit. a frying=
8209;pan).
A square shield with a raised edge and a grating on it, which resembled t=
he
German baking‑dish. In a tournament, the joust "à la poële<=
/span>"
was the most dangerous of all, as the champions fought bare‑headed =
and
without armour. Their horses were blindfolded=
, and
a coffin was brought into the course before the combat commenced. (Meyrick=
.)(1883m1) |
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The
name which was given by E. de Rougé to=
the
great epic of |
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In
the sense of rhyming lines Egyptian literature has no poetry. But a disti=
nct
rhythm is found in some of the hymns and eulogies, and much poetic feelin=
g.
Their similes show imagination and observation of nature, and they were n=
ot
above the use of alliteration. The love-sick maiden says, "What is s=
weet
to the mouth is to me as the gall of birds; thy breath alone can comfort =
my
heart." One love song has every verse commencing with the name of a
flower. The great Egyptian epic is the so-called poem of Pentaur
(q.v.). It has in part "=
a form
with which we are familiar in Hebrew poetry, the so-called parallelism of=
the
phrases; two short sentences following each other, and corresponding in
arrangement, and also as a rule in purport." Many poems were written=
to
be accompanied by the harp, as we so frequently see in the tombs. It is f=
rom
tomb walls also that we have those little lyrics or ballads which are of =
the
people. We give one example:- "Your
shepherd is in the water with the fish, He
talks with the sheath fish, he salutes the pike |
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(1) (Engrav.)
Steel instruments with a sharp tip are used by engravers and called points. In past times engravers =
used
simple sewing needles as points, but nowadays small steel vergettes
fitted into a handle of wood are frequently employed. In crayon engraving
double and even triple points are used, so as to make two or three dots or
points at once. These points are fixed in wooden handles and are frequent=
ly
blunted, in order that the marks they make on the plate may be the bigger.
Engravers on wood use a point which consists of a thin blade of steel. Th=
is
is inserted into a haft of wood, cut in two, and bound together again wit=
h a
twisted cord. The wood engraver uses the point as a kind of knife for cut=
ting
away the block, so as to increase the white, which in a wood engraving ou=
ght
to be deep enough not to be touched by the roller, with which the parts in
relief are inked. 3 ILLUS. point1a, point1b, point1c
(2) (Her.) The name
sometimes given to a charge in the form of a wedge with broad end downwar=
ds,
occupying about a third of the whole field. It is not essential that the =
point should rise to the top of =
the
shield. ILLUS. point2
(3) (Arch.) To point=
is to
mark the joints and courses of the bricks or stones of a wall by means of
lines drawn upon the wall. Sometimes the pointings=
span>
are painted in several colours and a flower is
placed in the centre of each stone. ILLUS. point3(1891a1)
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Pointed or Christian
Architecture is generally called GOTHIC; and is a general term, descripti=
ve
of all the styles that have prevailed subsequent to the introduction of t=
he pointed arch, commencing with th=
e 11th
century.(1883m1) |
|
Pointed. The style of
architecture generally called Gothic is also known as Pointed or Christian
Pointed. As one of its characteristics is the pointed arch and window,
this designation is a correct and convenient one. The Pointed style may be
divided into three great periods: (1) the primitive period, in which the
pointed arch assumed the lancet shape; (2) the secondary period, which la=
sted
through the 13th and 14th centuries, and coincides in point of time with =
what
we generally term the Decorated style; (3) the tertiary period, which
occupied the 15th and part of the 16th centuries, when what we call the
Perpendicular style flourished. The following are the principal varieties=
of
the pointed arch: (a) the lan=
cet,
or acute, which was in vogue in the 12th and 13th centuries. This form of
pointed arch was frequently employed in the military architecture of the
Middle Ages, but its chief interest for us is that it is the distinguishi=
ng
characteristic of the Early English style, of which Salisbury Cathedral is
the most convenient example; (b=
i>)
the equilateral, which consists of two arcs of circles, the radius of whi=
ch
is equal to the breadth of the arch at its springing line. This form of
pointed arch was frequently employed in the 14th century; (c) the lanc=
eolated,
which consists of two arcs of circles, which are continued the line, in w=
hich
the centres lie. The Moorish and Saracenic arch sometimes assumes this form; (d) the obtuse, which consists of=
two
arcs of circles, the radius of which is less than the breadth of the arch.
This form of arch is characteristic of the buildings of the 15th century.=
4 ILLUS. pointed1, pointed2, pointed3, pointed4(1891a1)
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(Sculp.)
An operation, the aim of which is to reproduce a plaster cast in a block =
of
stone or marble. The model and block of marble are set side by side. Above
each of them a square of wood is placed, the sides of which are marked off
into equal spaces, and from which a plumb‑line is suspended. This p=
lumb‑line
may be moved and describes an imaginary parallelopip=
ed,
within which are enclosed the roughed‑in block and the model of the
statue. The distance between the plumb‑line and one of the most
projecting points of the model is then measured, and this distance is mar=
ked
on the block. The block is t=
hen
cut away with a chisel as far as the point marked,
so as to obtain the necessary depth. By repeating this operation for all =
the
projecting points taken in one plane a silhouette of the model is obtaine=
d,
the exactitude of which depends upon the nearness of the points taken to =
one
another. Continuing the process for the other planes, an exact mathematic=
al
reproduction of the lines of the original is obtained. There is then noth=
ing
left for the sculptor but to give the marble its finishing touches before
handing it over to the polisher. ILLUS. pointing=
span>(1891a1)
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Point Lace &= agrave; bride picotée ground. This lace is made with the needle (see NEEDLE POINT), some parts of the pattern only slightly raised in relief b= eing united by stitches called bride p= icotée. (Fig. 549.) Fig. 549. Point Lace à bride picotée.(1883m1)
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The principal vanish=
ing
point, in perspective, to which the horizontal lines converge.(1883m1) |
|
If a line is drawn f=
rom the
spectator's eye at right angles to it, it will meet the horizontal line o=
f a
picture in a point called the poi=
nt of
sight or centre of vision. This is the vanishing point of horizontal
lines which are at right angles to the spectator.(1891a1) |
|
In the 15th and 16th=
centuries,
before the introduction of buttons, the different parts of dress were
fastened with ribands, having ornamental points or metal tags at the end.=
(See
Fig. 559.)(1883m1)
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(Her.) In order to d=
etermine
accurately the position of a charge or a shield, heralds have assigned na=
mes
to certain points, and by mentioning these points the position of a charge
can be described with sufficient accuracy. There are altogether nine poin=
ts
thus distinguished by special names. We must first explain that the upper
part of the shield is called the =
chief,
the middle the fess, and =
the
lower the base. Again the sid=
e of
the shield which would be on the right hand of any A,
the dexter chief. B,
the precise middle chief. C,
the sinister chief. D,
the honour point. E,
the fess point. F,
the nombril point. G,
the dexter base. H,
the precise middle base. I,
the sinister base. =
one standing behind it is called the dexter side, and the other side is called the sinister. We have then the following three points specified in
the upper portion of the shield: dexter chief, =
chief,
sinister chief. Similarly in the lower portion we have dexter base, base, sinister base. The
central point of the shield is called the fess
point, and the points immediately above and
immediately below are called respectively the honour point and the nombril point<=
/i>,
making in all nine specified points. ILLUS. points(1891a1)
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The position selecte=
d by the
painter in front of the object which he wishes to represent. If his pictu=
re
is to be a consistent whole, the station point must not be changed.(1891a=
1) |
|
Germ. (Lat. = poculum). A drinking‑cup. (Fig. 550.) = Fig. 5= 50. Pokal, or German Tankard.(1883m1)
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Drawings burned upon=
wood
with hot irons; much patronized in the 18th century.(1883m1) |
|
R. A familiar oath or
adjuration especially employed by the Roman women; it was an abbreviation=
of By Pollux!(1883m1) |
|
A weapon of the 15th
century, combining a hatchet, a pike, and a serrated hammer. Used princip=
ally
by cavalry.(1883m1) |
|
The polishing of mar=
ble
statues is generally entrusted to workmen, but the sculptor should watch =
the
process with care. Fine touches may easily disappear under the action of
pumice‑stone. The sculptors of antiquity sometimes polished their w=
orks
with wax. Statues which are required to keep their polish are often cover=
ed
with a light coat of varnish. Copper plates which are to be engraved are
polished first with the scraper, then with sandstone, pumice‑stone,=
and
powdered chalk.(1891a1) |
|
Pollubrum and Polubrum. R.
An old term for which there was substituted later on malluvium, aquimanale, aquiminarium, trulleum; it
was a kind of basin for washing the bands, the PXD<4R[=3Dchernips], P,D`<4BJD@<[=3Dcheroniptron] o=
f the
Greeks.(1883m1) |
|
Chr. (Gr. =
B@8L‑V<*D4@<[=3Dpolu‑andrion]. <=
/span>A common sepulchre =
in which
more than four bodies were buried. (See LOCULUS.)(1883m1) |
|
An instrument for
application to the pianoforte for coupling together the strings of two oc=
tave
notes.(1883m1) |
|
That which is of sev=
eral colours. Greek sculpture was polychrome, that is to=
say,
was painted in a variety of tints. This was of course done in a conventio=
nal
spirit and without any attempt at realistic colourin=
g.
In modern times polychrome sculpture has not been held in honour,
yet several attempts have been made to resuscitate this branch of art,
especially by French sculptors, not only by colourin=
g
white marble statues as in former times, but also by employing materials =
of
various colours. In ancient |
|
This term includes a=
ll the
processes of printing, decoration, and colouring in
which several colours are used.(1891a1) |
|
Colouring statuary, bas‑reliefs, and architecture;=
to be
distinguished from forming them of variously‑c=
oloured
materials. This was not done by painting with an opaque colour,
but a sort of staining of the surface by thin, transparent colouring matter. M. de Quincy states that the fine
preservation of the surface of some antique statues, such as the Apollo
Belvedere, Hercules of Glycon, and Venus de M=
edici,
is attributable to the use of wax colouring. =
Stones
of various colours were used to represent dif=
ferent
parts of the figure, and in busts of the Roman emperors the dress is
frequently of coloured marble, while the fles=
h is
of white. [Consult |
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A geometrical figure=
which
has several sides and several angles.(1891a1) |
|
That which has the f=
orm of a
polygon.(1891a1) |
|
A solid with many faces or planes.(1883m1) |
|
A solid fi=
gure
presenting many plane sides.(1891a1) |
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Polyptyca, Gr. (B@8b‑BJLP"[=3Dpolu‑ptucha]).
Tablets, a sufficient number of which are put together to form what we now
call a note‑book. (2) A polyptych; a pi=
cture
with several compartments. (Cf. DIPTYCH.)(1883m1) |
|
Polyptych. Under this term were included, particularly i=
n the
Middle Ages and during the period of the Renaissance, altar‑pieces =
and
panels closed by means of several leaves folded one over the other. In
ancient times the term was applied to writing tablets of more than two le=
aves
or sheets. ILLUS. polyptyc(1891a1)
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Arch. Surrounded by =
several
rows of columns, as in Moorish architecture. The porticoes of a Greek tem=
ple
had never more than ten columns in front (decastyle<=
/span>).(1883m1) |
|
O.E. = (from pomme d'ambre, perfume apple). <= /span>A scent‑box worn at the end of the hanging girdles of the 16th centur= y. (See POUNCET‑BOX.) (Fig. 551.) Consult an interesting monograph by = R. H. Soden Smith, "Notes on Pomanders." Fig. 5= 51. A Silver Engraved Pomander, or Scent‑box, shown open and closed.(1883m1)
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R. (post and moerium
(murus=
span>)
behind the walls). A line enclosing a town, marked out at intervals by st=
one
pillars. When the limits of the town were extended, the pomoerium could not be ch=
anged
without augury by the jus pomoerii, and, in any case, only by a town whose
inhabitants had contributed to the extension of the limits of the
empire.(1883m1) |
|
R. and Gr. (<=
span
style=3D'font-family:"WP Greek Courier";mso-ascii-font-family:"Times New =
Roman";
mso-hansi-font-family:"Times New Roman";mso-char-type:symbol;mso-symbol-f=
ont-family:
"WP Greek Courier";mso-no-proof:no'>B@:BZ[=3Dpompe]). A sole=
mn
procession, especially that with which the games of the circus were
preceded.(1883m1) |