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The attitude assumed=
by a
painted or sculptured figure is termed the pose. Gracefulness of pose is one of the necessary conditions=
of
artistic success.(1891a1) |
|
Poseidon was worship=
ped by
the Greeks as the god who controlled the element of water. He is represen=
ted
in art as a god closely resembling Zeus, except that his long hair is mat=
ted
with the salt sea. The horse is sacred to him, and his attributes are the
dolphin and trident. His contest with Athene =
for
the sovereignty of Attica, on which occasion Poseidon called forth a spri=
ng
of water while Athene made an olive tree to g=
row,
was a favourite subject with Greek artists, a=
nd was
represented in one of the great pedimental gr=
oups
of the Parthenon. The god of the Romans which corresponds to Poseidon is
Neptune.(1891a1) |
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(Arch.) A piece of t=
imber,
set vertically, which answers the same purpose in a wooden house or build=
ing
as a pillar does in a stone construction. ILLUS. post=
(1891a1)
|
|
Postern (posterna, a back‑do=
or). A
private gate in a rampart, either upon the platform or at the angle of a
curtain, and opening into the ditches, whence it was possible to pass by =
the pas‑de‑souris,
without being seen by the besiegers, into the covered way and the
glacis.(1883m1) |
|
Postern. (Arch.) A s=
mall
gate by which foot‑passengers were admitted to a town or fortified
castle. It was so narrow that only one person could enter it at a time. In
our cut, which represents the gateway of a mediaeval stronghold, further
strengthened by a drawbridge, the postern is the small opening on the lef=
t‑hand
side. When a building had but one gate a small wicket which opened by its=
elf
took the place of the postern. ILLUS. postern(1891a1)
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R. (Gr. B"D"2bD"[=3Dparathura]). (1=
) A back
door to a Roman house. (2) In Architecture, the part of a building opposi=
te
to the façade; the posterior façade.(1883m1) |
|
R. The jamb of a doo=
r,
supporting the lintel or limen superius.(1883m1) |
|
Post‑scenium. (Arch.) That portion of ancient theatre th=
at is
situated behind the scenes.(1891a1) |
|
Postscenium, R. The =
part of
a Roman theatre behind the stage, in which the actors dressed, and the
appointments and machines were kept.(1883m1) |
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A so‑called wo=
rk of
art, produced, not because there is any artistic fitness about it, but me=
rely
because it answers a popular demand, and so serves to keep its author's p=
ot
boiling, is not inappropriately termed a potboiler.
How great is the excess of potboilers over works of art among the thousan=
ds
of pictures annually exhibited, a visit to any modern exhibition will
convince the most optimistic visitor.(1891a1) |
|
(Her.) This is one o=
f the
eight furs employed in heraldry. It consists of a series of crutch‑=
heads,
upright and inverted, and arranged in the same way as the upright and
inverted bells in Vair
(q.v.). The term is derived from an old English word, pottent, meaning a crutch=
. For
an illustration of an heraldic crutch‑he=
ad see
Cross Potent. ILLUS. potent(1891a1)
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In Phenician
mythology an elementary deity, the union of the wind and of chaos. He was
also a Gnostic deity or essence. (1876c1) |
|
The chief of the sacred rites under Piankhi-Meramen, who sent him, together with the ca=
ptain
or marshal Poarma, to receive the allegiance =
of the
rebel chiefs after their defeat. (1876c1) |
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(Pot.) A Chinese or =
Japanese
vase, generally of porcelain, with narrow neck and slightly swelling body=
. Potiches were made of every possible size, and were
covered with rich ornamentation. The Chinese use large full‑bellied=
potiches with lids, which suggest the roofs of temp=
les,
to hold their crops of tea. ILLUS. potiche(1891a1)
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A process of ornamen=
ting
glass with coloured designs on paper, in imit=
ation
of painted porcelain.(1883m1) |
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Potter's Clay, found=
in Dorsetshire and |
|
Pottery. The term po=
ttery,
strictly speaking, only denotes that branch of the ceramic art which is
devoted to the production of opaque ware, the term porcelain being reserved for translucent objects. However, in=
a
general sense we speak of all manifestations of the ceramic art as pottery, and in the historic sum=
maries
which follow porcelain is treated of as well as pottery proper. Further
information on particular wares may be looked for under separate headings.
The potter's art is perhaps the oldest and simplest of all arts. It needs=
but
few materials and no elaborate machinery besides the potter's wheel, which
has retained very much the same form in all ages and in all
countries.(1891a1) |
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Pottery (Fayence,
Terraglia), as distinct from porcelain, is fo=
rmed
of potter's clay mixed with marl of argillaceous and calcareous nature, a=
nd
sand, variously proportioned, and may be classed under two divisions: Soft (Fayen=
ce
à pâte tendre), and Hard
(Fayence à=
pâte dure), accor=
ding to
the nature of the composition or the degree of heat under which it has be=
en
fired in the kiln. What is known generally in |
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Pottery was manufact=
ured by
the Arabians from the 8th to the 14th centuries. It included tiles, with
which walls and floors were covered, mosaics and vases, and other vessels=
of
a blue or green glaze picked out with black. The patterns mostly in vogue
among the Arabians are geometrical, but on decorative vases figures of
animals are sometimes found.(1891a1) |
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The principal specim=
ens of
Assyrian pottery known to us are bricks and tiles found among the ruins of
Babylonian temples. They are richly coloured =
and
covered with a glass glaze. Some curious coffins of baked clay, with a gr=
een
glaze, and figures of warriors embossed upon them, were found at Warka in |
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Celtic pottery gener=
ally
consists of grey or blackish earthenware vases, very roughly made, and
decorated with ornaments incised with a stiletto, which was used upon the
paste while it was still soft.(1891a1) |
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Chinese pottery take=
s us
very far back into the past. In very early times the Chinese made both
stoneware and porcelain, and to them belongs t=
he
credit of having invented crackle. The most ancient decoration employed by
the Chinese was blue upon a white ground. Their polychrome pottery is
distinguished by a profusion of ornament and by the introduction of drago=
ns
and grotesque animals. It has been classed by some authors in several
families. Although this classification is purely conventional and has been
upset by recent discoveries, it presents the advantage from a decorative
point of view of setting before us the colours and
patterns adopted by the Chinese. It may therefore be useful to give the
classification here: (1.) Chrysanthemo‑Paeonian family: vases decorated with chrysanthemums and peacocks. (2=
.) Green family: vases of a copper =
green colour covered with historical subjects, rustic
decorations, rocks, daisies, butterflies, insects, &c., all of which =
have
a hieratic signification. (3.) Ro=
se
family: vases of a pale carmine red decora=
ted
with arabesques, bunches of flowers and figures of a familiar character.
These are the principal classes of Chinese pottery and porcelain. There s=
till
exist one or two which should be mentioned, su=
ch as
"reticulated" ware, in which the outer side is cut out in lace&=
#8209;like
patterns and superposed on an inner vase, and the very delicate transpare=
nt
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The earliest Dutch p=
ottery
was made at |
|
The Egyptians manufa=
ctured
pottery in very early times. For the most part it was of a soft paste and
decorated with black zigzag ornaments and dull blue enamel. The decoration
employed was for the most part geometrical, supplemented sometimes with s=
uch
rude devices as animals' heads and hieratic symbols. Besides cups, lamps,
&c., statuettes of the gods were made of earthenware by the Egyptians.
Our two cuts, which will give an idea of the decoration employed by the
Egyptians, are taken from wall‑paintings at
|
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The earliest pottery=
made in
|
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A great many vases have been found in
|
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The earliest French =
pottery
was derived from the
|
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The vases made in th=
e Gallo‑Roman
period are more careful in execution than those of the Celtic period; the=
ir
outline is more graceful and they are decorated with ornaments in
relief.(1891a1) |
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The following are th=
e most
important centres of the manufacture of potte=
ry in
|
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Greek vases are as a=
rule
simple and graceful in form, and are decorated with palm‑leaves,
meanders, inscriptions, and subjects taken from the mythology of the Gree=
ks.
They are our best evidence as to the style of the Greek painters. A very fine clay was used in their manufacture. The =
vase
was made on the wheel, and the neck and handles were attached afterwards.=
The
vase was then baked, and after the baking the vase‑painter drew his
design upon the still soft clay. In black‑figured vases the red of the clay served as a grou=
nd,
the figures being filled in with black. In red‑figured vases the
figures were first drawn in
outline; the whole body of the vase was then coloure=
d
black, and finally the details of the figures which stood at red on a bla=
ck
ground were drawn with a pencil. Black‑figured vases were made from=
540
B.C. to 460 B.C., and are somewhat archaic in style; after 460 B.C. vases
were generally red‑figured and less conventional in style and
execution. The various forms assumed by Greek vases are given under their
separate headings. 2 ILLUS. potterg3, potterg4(1891a1)
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This pottery is characterised by its grace of form and the metallic=
lustre of its tones. That made at |
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The art of making po=
ttery
was derived by the Indians from |
|
From the 11th to the=
13th century Italian pottery was co=
vered
with enamel. In the next century it was characterise=
d
by metallic lustres. This was succeeded by the
pottery of Lucca della=
span> Robbia, which was modelled in
terra‑cotta and ornamented with religious subjects in blue and whit=
e.
Then came the enamelled=
span>
ware known by the name of majolica, with its wonderful colours
and lustres. The most celebrated centres of the industry were
|
|
There are =
three
distinct kinds of Japanese pottery: faïence, soft paste stoneware, a=
nd
porcelain. The most highly prized faïence, is Satsuma, which is
decorated with figures, flowers, birds in gold and silver, on a creamy wh=
ite
ground, covered with a very fine crackle stoneware, sometimes glazed and
sometimes not. We find cups, teapots, statuettes, grotesque figures, and
pieces of a violet brown incrusted with designs executed in white. Japane=
se
porcelain is of the same character as Chinese, but is easily distinguished
from the latter by the character of its decoration, which is never absolu=
tely
symmetrical, but which is remarkable for the excellence of its design and=
the
brilliance of its colour.(1891a1) |
|
Persian pottery cons=
ists for
the most part of enamelled faïence, of a
white, yellow, green , or pale blue ground, co=
vered
with designs of turquoise or cobalt blue. Its ornamentation includes
geometrical figures, flowers, birds, butterflies, hares, gazelles, antelo=
pes,
and cavaliers with falcon on wrist. Persian faïence is characterised by unrivalled harmony of tones.(1891a=
1) |
|
The domestic pottery=
of the
Romans was red in colour, about the tint of s=
ealing
wax. It had a brilliant lustre and was of a v=
ery
fine grain. Many specimens of it have come down to us in an admirable sta=
te
of preservation. Architectural ornaments, such as antefixes, metopes, bas‑reliefs, &c., were made of
earthenware by the Romans, and may be classed among the products of the
potter. 2 ILLUS. potterr1, potterr2(1891a1)
|
|
An Egyptian officer, the son of Har-si-esi and the lady Taterk=
at.
A portion of his sarcophagus is in the |
|
Fr. Long‑toed =
boots
and shoes, introduced in 1384. (See CRACOWES.)(1883m1) |
|
A well‑defined=
outline
of a design executed on a sheet of paper of sufficient resisting power. T=
he
process is as follows: the paper is pierced with a series of punctures pl=
aced
as close together as possible. To obtain a tracing of this outline, a pad=
in
the shape of a small bag containing a coloured
powder is passed over the sheet of paper, and the powder settling in the
small apertures indicates the outline which it is desired to reproduce. T=
his
process is used to transfer to canvas‑sketches made upon paper, or =
to
obtain an exact repetition of a system of ornament. ILLUS. pouncedp(1891a1)
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|
A kind of transparent
tracing‑paper, free from grease, &c.; made in Carlsruhe.(1883m1) |
|
O.E. A perfume‑=
;box,
carved with open work. (See POMANDER.)(1883m1) |
|
Hind. Very ancient b=
ooks of |
|
A priest of Horus,
in the XXIVth or XXVth=
span>
dynasty. (1876c1) |
|
Fr. A quilted doublet, worn in the 14th and 15th centuries. The illustration represents a Venetian gallant of the 16th century. (See GAMBESON.) Fig. 559. Pourpoint. Worn by a Venetian youth of the 16th century.(1883= m1)
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Pouss=
inesque. (Paint.)
A term used in French art criticis=
m to
describe a landscape painted in the manner of Poussi=
n,
that is with the dignity of the classic convention.(1891a1) |
|
PowderR=
09;blue
is pulverized pipe‑clay, a good "pounce" for transferring
designs upon linen for embroidery.(1883m1) |
|
Chr. Guardian angels, u=
sually
represented bearing a staff. (See ANGELS.)(1883m1) |