$H Pondus, Weight.
|
R. (pendo, to suspend). An ob=
ject
used for weighing, either with the balance (libra), or the steel̴=
9;yard
(statera=
).
The same term was also applied to a weaver's weights; these were of stone,
terra‑cotta, or lead.(1883m1) |
$H Pons.
|
R. (Gr. = (X= NL= D"[=3Dgephura]). (1) A bridge; the causeway (agger) which traver= sed the Roman bridge was paved with large polygonal stones; on either side of= it was a pathway (crepido). Fig.= 552 shows the Roman bridge at St. Chamas, at the ends of which were erected triumphal arches (fornices). = (See FORNIX.) Pons sublicius was a wooden bridge built upon piles; p= ons suffragiorum, the voting‑bridge over which the electors passed = as they came out of the septum t= o cast their vote (tabella) into the= urn (cista). It is probable that the = Greek bridges were of wood. (2) A wharf or landing‑stage by the waterR= 09;side. Fig. 552. Pons.(1883m1)
|
![](3D"pon_files/image035.gif")
$H Poongi. Hindu
|
Hindoo. A curious musical instrument made of a gourd,=
or
sort of cocoa‑nut, into which two pipes are inserted. It is the
instrument played by the Sampuris, or snake&#=
8209;charmers,
to the performing cobras.(1883m1) |
$H Pope.
|
The illustration represents the Pope of Rome in full pontificals, viz. the tiara, consisting of three crowns of gold decorated with precious stones and surmounted by a cross, and over a rochet (surplice) of silk a mantle of gold work plentifully ornamented with pear= ls. The under vestment, which is long, is of hyacinth colour. The slippers ar= e of velvet with a cross of gold, which all who wish to speak to the Pope reverently kiss. Late mediaeval artists attributed this costume to the Fi= rst Person of the Trinity. It is given also to St. Clement, St. Cornelius, St. Fabian, St. Gregory, St. Peter, and St. Sylvanus. Fig. 553. Pope in full pontificals.(1883m1)
|
![](3D"pon_files/image036.gif")
$H Popina.
|
R. A tavern or refre=
shment‑place
where food was sold, in contradistinction to caupona, which was a shop=
for
selling wine.(1883m1) |
$H Popinjay. O.E. A p= arrot.(1883m1)
$H Poplin.
|
A textile of modern
introduction, woven of threads of silk and worsted.(1883m1) |
$H Poppy and Poppy‑head.
|
Poppy, Chr.
This plant, the seed of which affords a soporific oil, symbolizes, in
Christian iconography, death.(1883m1) |
|
Poppy‑head. A =
term in
decorative art for the carved ornaments with which the tops of the uprigh=
ts
of wood‑work, such as the ends of benches, backs of chairs, bedpost=
s,
&c., were crowned.(1883m1) |
|
Poppy, Poppy‑h=
ead.
(Arch.) This term is applied to ornaments, sometimes consisting of fleurs=
‑de‑lis,
sometimes of other flowers or foliage, which terminate the ends of seats =
and
benches in churches. They are most frequently found in buildings of the
Perpendicular style. ILLUS. poppy(1891a1)
|
![](3D"pon_files/image037.gif")
--- $H Po= ppy Oil.
|
A bland drying oil, =
obtained
from poppy‑seed, and used in painting. (See OILS.)(1883m1) |
$H Popularia.
|
R. The second maenianum or
tier of seats in an amphitheatre.(1883m1) |
$H =
Porcelain.
|
Porcelain. A hard, compac=
t, and
impermeable kind of pottery, formed from a fine and translucent paste, the
principal base of which is kaoline.(1891a1) |
|
Porcelain (Ancient C=
hinese)
(from the Portuguese porcellana,
little pigs; a name given to cowrie‑she=
lls by
the early traders, and applied to porcelain, which they thought was made =
of
them, or because it resembled the interior of a shell). A fine species of
transparent earthenware, the chief component part of which is silex. (Fairholt.) The most ancient examples of porcelain in <=
st1:country-region
w:st=3D"on"> |
--- $H Po= rcelain, Hybrid.
|
A term applied to a =
kind of
Italian porcelain in which the kaoline of |
--- $H Porcelian , Opaque.
|
A name inc=
orrectly
given to fine faïences, which are someti=
mes
known as demi‑porcelain.(1891a1) |
$H Porch.
|
Porch. (Arch.) The v=
estibule
outside a Christian church, corresponding to that portion of an ancient
temple which was called the pronaos. Some med=
iaeval
churches possess porches of extraordinary magnificence. From the period of
the Renaissance there have come down to us many beautiful specimens of
porches of carved wood, while the entrance to many country churches is
covered with a rustic porch of a picturesque appearance. 2 ILLUS. porch1, porch2(1891a=
1)
|
|
Porch, Arch. A struc=
ture
placed in front of the door of a church or other building, and very varia=
ble
in form. In the ancient basilicas the vestibule is more commonly called
NARTHEX (q.v.). Fig. 554 shows a wooden porch also called a pent‑house porch, and Fig.=
555 a
plan of what is called a cupola
porch, from the fact that, its ground being circular, it is surmounted by=
a
dome. Fig. 554. Pent‑house Porch. Fig. 555. Ground‑=
;plan
of a Cupola Porch.(1883m1)
|
![](3D"pon_files/image038.gif")
![](3D"pon_files/image039.gif")
![](3D"pon_files/image040.gif")
![](3D"pon_files/image041.gif")
$H Porcupine.
|
(Fr. porc epic). Hereditary device of the Fig. 556. Porcupine. Device of Louis XII.(1883m1)
|
![](3D"pon_files/image042.gif")
$H Porcupine‑wood.
|
The ornamental wood =
of a
palm, the markings of which in the horizontal section resemble porcupine
quills.(1883m1) |
$H Porphyry.
|
A hard stone, red or=
green
in colour, covered with small white spots and
capable of receiving a very high polish.(1891a1) |
|
A hard stone much us=
ed in
Egyptian sculpture, and for sarcophagi. It was of a fine red colour, passing into purple and green, and suscepti=
ble of
a fine polish. (See also ROSSO ANTICO.)(1883m1) |
$H Porporino.
|
It. A yellow powder
substituted for gold by mediaeval artists. It was compounded of quicksilv=
er, sulphur, and tin.(1883m1) |
$H Porta.
|
R. This term denotes the gate of a city, a large gat=
e in
any enclosure, in contradistinction to JANUA and OSTIUM (q.v.), which den=
ote
the doors of a building. Fig. 557 shows the ancient gate of Fig. 557. Porta (Gate of Perusium).(1883m1)
|
![](3D"pon_files/image043.gif")
$H Portcullis.
|
Portcullis, H=
er. A
defence for a gateway, borne as a badge by the Houses of Beaufort and Tud=
or.
Motto, "Altera securitas=
."
(Fig. 558.) Fig. 558. Portcullis.
Portcullis.
A kind of iron grating, forming an outer door, which slided
up and down perpendicularly in the grooves of a bay. It was suspended by a
chain, which could instantly be lowered, as occasion required, in order to prevent ingress and cut off all communic=
ation.
By the Greeks and Romans they were called portae cataractae, and in the Middle Ag=
es
they were known as Saracenic gates.(1883m1) |
|
Portcullis. (1.) (Ar=
ch.) An
iron grating hung on chains and placed in a vertical groove. When it was =
let
down it served to close the entrance to the castles and strongholds of the
Middle Ages. Under the name of cataracta the portcullis was in use among the Romans. =
ILLUS. portcul1
(2.) (Her.) A portcu=
llis
with nail heads visible upon its transverse bars frequently occurs as a
charge in heraldry. It was one of the badges of the house of Tudor, and is
frequently found as an architectural decoration in churches which were bu=
ilt
under the auspices of the Tudors. ILLUS. portcul2(1891a1)
|
![](3D"pon_files/image044.gif")
![](3D"pon_files/image045.gif")
![](3D"pon_files/image046.gif")
$H Porte‑cartons.
|
A small piece of fur=
niture
which generally resembles the letter X or Y in shape. It stands about bre=
ast‑high,
and is used to hold mounted drawings or portfolios, which can be thus more
easily turned over. ILLUS. portecar(1891a1)
|
![](3D"pon_files/image047.gif")
$H Porte‑Cochère<= /span>.
|
(Arch.) A gateway th=
rough
which a carriage and horses may pass. [Gateway.) (1891a1) |
$H Porte‑crayon.
|
An instrument of cop=
per or
brass, which consists of two branches soldered together. Its ends open out
wide, so that in each of them a crayon or piece of chalk may be inserted,
which is held tightly in its place by a ring pressing together the branch=
es
of metal. It is chiefly used for holding a black crayon, which is thus
prevented from soiling the fingers, and may be used when it is too short =
to
be held by itself. ILLUS. portecra(1891a1)
|
![](3D"pon_files/image048.gif")
$H Portfolio.
|
A term applied to a =
case in
which drawings and engravings are preserved. It consists of two leaves of
cardboard bound at the back in linen or canvas; it is sometimes provided =
with
pieces of linen at the sides to keep the dust out and is fastened together
with ribands. Portfolios are made of every sh=
ape
and size.(1891a1) |
$H Portico and Porticus=
.
|
Porticus, Portico, R. (porta). A long colonnade serving as a covered promenade. In an amphitheatre, =
the
covered gallery at the top which was appropriated to women or slaves. A
wooden gallery covered over with a roof, but in some cases entirely open =
on
the side of the country. (See TEMPLUM.)(1883m1) |
|
Portico. (Arch.) A c=
overed
gallery or colonnade open to the air on one side, the vault or ceiling of
which is supported by columns, pillars, or arches. The Greeks built porti=
coes
of extraordinary magnificence, which served as meeting‑places or
lounges, and were frequently decorated with paintings and statues. The Ro=
mans
adopted the portico from the Greeks, and in the time of the Empire it was=
an
invariable adjunct to the villa. 2 ILLUS. portico1,
portico2(1891a1)
|
![](3D"pon_files/image049.gif")
![](3D"pon_files/image050.gif")
$H Portière.
|
A curtain fixed on t=
he
lintel of a bay, draped and caught up or allowed to fall vertically. Its
purpose is the decoration or concealment of an opening. Tapestries and co=
stly
textures are some times used as portières. ILLUS. portiere(1891a1)
|
![](3D"pon_files/image051.gif")
$H Portisculus.<= span style=3D'mso-spacerun:yes'>
|
R. A director's staff
wielded on board ship by the officer who gave the time to the rowers to m=
ake
them row in unison.(1883m1) |
$H Por=
tland
|
A vase now in the |
$H Portrait.
|
A representation of a
person, feature for feature; the image of a living model, drawn, painted,=
or
sculptured, in which the artist endeavours to
reproduce with accuracy the appearance attitude, and expression
characteristic of his model.(1891a1) |
--- $H Po= rtrait, Bust.
|
A representation, pa=
inted or
sculptured, of the head and upper part of the body of the sitter.(1891a1)=
|
--- $H Po= rtrait, Full‑length.
|
A portrait
representing the whole figure of the sitter from head to foot.(1891a1) |
--- $H Po= rtrait, Medallion.
|
A portrait, in the f=
orm of a
medallion, representing only the head of the sitter, and this generally in
profile.(1891a1) |
$H Portrait Gallery, National (London
|
Portrait Gallery, Na=
tional.
A gallery founded in 1857, for the preservation of the portraits of
distinguished English men and women. The collection includes painted and
sculptured portraits, as well as drawings, and provides a valuable commen=
tary
upon history. It has not been treated with the respect it deserves: it was
for long housed in a series of wooden sheds at |
$H Portrait Painting.
|
The earliest portrai=
t on
record is that of Polygnotus, painted by himself, B.C. 400. Giotto is
said to have been the earliest successful portrait painter of modern time=
s.
The different sizes of portraits are the following: ‑ in
feet & inches by feet & inches Bishop's
whole length 8' 10" by 5' 10". Whole
length 7' 10" by 4' 10". Bishop's
half‑length 4' 8" by 3' 8". Half‑length
4' 2" by 3' 4". Small
half‑length 3' 8" by 2' 10". Kit‑cat
3' 0" by 2' 4". Three‑quarter
size 2' 6" by 2' 1". Head
size 2' 0" by 1' 8".(1883m1) |
$H Portraits. Egypt
|
The
introduction of painted portraits into |
$H Portula.
|
A wicket made in a l=
arge
gate in order to give admittance into a city without opening the porta o=
r large
gate.(1883m1) |