$H Ren. Egypt

Ren, lit. Name. The Egyptians considered the name to be a most important part of a human being - in fact they practically looked upon it= as a separate entity. A man's name was thought to exist after him, and to be known in heaven.(1902b1)

$H Renaissance.

Renaissance. The period during which there was a general revival of a= rt throughout Europe. This movement began= in Italy= in the 15th century, and continued with little abatement of vigour throughout the 16th. It reached England and Germany somewhat late. The architecture of the Renaissance was characterised by a return to the ancient orders, which were interpreted, however, with a cer= tain amount of freedom.(1891a1)

Renaissance (lit. ne= w‑birth or revival). The term is popularly applied to the gradual return to class= ical principles in Art in the 13th and 14th centuries. The Italian renaissance, begun by NICCOLA PISANO in architecture and sculpture, and by GIOTTO in painting, was fostered by the Medici family, and culminated in Leonardo, Michelangelo, and Raphael. Teutonic art (Flemish, German, and Dutch) had = also their periods of revival. It is, however, impossible to indicate their representatives without entering upon debateable questions. Goldsmith's work, pottery, and other useful arts passed through parallel periods of revival concurrent, or nearly so, with those in painting.(1883m1)

$H Render.

To render is to represent, express, or interpret by the means proper to any particular art.(1891a1)

$H Rendering.

A term denoting the manner in which a work of art or fig= ure is painted, drawn, or executed. Thus we speak of an inadequate rendering,= or say that the rendering of a certain subject is admirable.(1891a1)

$H Renen. Egypt [See Ranno - Editor]

$H Renenet. Egypt

Renen. Or Ranno. In Egyptian mythology the goddess of harvest. She is specially mentioned = in the CLXth chapter of the Ritual of the Dead. (1876c1)

Ranno. Ranen, "To Suckle." In Egyptian myt= hology the serpent goddess of corn and of harvest. She was generally represented= as a goddess with the head of an uraeus serpent, or the crown of Hathor. It = was her province, together with the god Shai or Shu, to give new life to the deceased in Hades. (1876c1)

Renenet or Ranen. The goddess of good fortune, the harvest goddess. In the "Boo= k of the Dead" she is usually connected with Shai and Meskhent. She is represented with a human body with the uraeus for head, and sometimes wit= h a head-dress of two plumes and other divine insignia. ILLUS. Renenet.(1902b1)=

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$H Rengue.

Sp. A kind of gauze = worn on official robes in Spain.(1883m1)

$H Ren= o. [See Rheno - Editor]

$H Renpa. Egypt [See Renpit - Editor]

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

Renpe-nofre. "The Good Renpe," or "Good Year." An Egy= ptian lady, the mother of the priest Taho in the XXVIth dynasty. (1876c1)

$H Renpit. Egypt

Renpa. Or Renpit. An Egyptian deificatio= n of the year. She was generally represented as a woman holding a stripped palm branch, the emblem of a calendar of days, in her hand. (1876c1)

Renpit or Repit. A goddess representing the personified year,= renpit = being the Egyptian word for year. She belonged to the Memphite cycle of gods. Sometimes Ta-urt and Hathor are identified with her. She is pictured in human form, the symbol on her head being a notched palm branch. Frequently she carries a long notched branch in her hand. ILLUS. Re= npit.(1902b1)

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$H Repa. Egypt [See Erpa - Editor]

$H Repagula.

R. (lit. fastening b= ack). A double fastening to a door; of two bolts (pessuli), one of which wa= s shot towards the right, and the other to the left.(1883m1)

$H Repaint.=

Those portions of a picture upon which fresh colour has = been laid after the completion of the picture are said to be repainted. Of all= the processes of restoration repainting is the most dangerous, and the most hopelessly prejudicial to the value of a picture.(1891a1)

$H Reparata, St.

St. Reparata was from the 7t= h to the 13th century the patron saint of Florence and representations of her = are to he found in early Florentine pictures. The tradition was that she suff= ered martyrdom in Cesarea at the age of twelve.(18= 91a1)

$H Repetition.

A method of ornament, which consists in decorating a surface by representing the same motive a large number of times in a geometrical arrangement.(1891a1)=

$H Repit. Egypt [See Renpit - Editor]

$H Replica.=

A duplicate of a pic= ture, done by the same painter.(1883m1)

An original work of art of the same dimensions as an ear= lier production by the same artist, and representing identically the same subj= ect as that treated in a former work.(1891a1)

$H Repose.

Repose. (See RIPOSO.) (1883m1)

A work of art is said to have repose when its parts are balanced and harmonious, when no spots within it unduly attract the eye, = and when there is a quietness and dignity over the whole composition.(1891a1)=

$H Repositorium.=

R. (repono, to lay down). A sideboard for plates and dishes in a dining‑room; it was divided into several stories, and formed a kind of dinner‑wagon; and many examples were richly ornamented, and inlaid with variegated woods, or tortoise‑shell and silver, &c.(1883m1)

$H Repoussé.

Repoussé, Fr.= Metal‑work hammered out from behind into ornaments in relief.(1883m1)

Repoussé. A term applied to the art of fashioning ornament= al objects in metal by beating it behind with a hammer, as well as to the ornaments executed by means of this process. The forms of the decoration = are only roughly indicated by the hammer, and the work has to be finished by chasing (q.v.).(1891a1)

$H Reproduction.

A term applied to the copying of works of art and especi= ally to the interpretation of pictures by means of engraving, photogravure, and photography. The right of reproducing a work of art belongs to the artist= and is distinct from the possession of the work, if the artist takes care at = the time of sale to reserve this right to himself.= If he neglects to take this precaution the right of reproduction ceases to belo= ng exclusively to any one. [Copyright, Artistic.](1891a1)<= /p>

$H Requiem.

Chr. The Roman Missa pro Defunctis, or service for the dead, beginning with the anthem "Requiem aeternam dona eis, Domine.&= quot;(1883m1)

$H Rere. Egypt

An Egyptian officer in the court of Seti I. of the XIXth dy= nasty. He was the son of Bek-aa and the lady Hent-anu, and he held the offices of "Royal Scribe," "Superintendent of the Royal Palace," "Chief of the Cavalry," and "Favourit= e of the King." (1876c1)

$H Rerebrace.

O.E. (for the French= arrière= bras). Arm= our for the upper part of the arm.(1883m1)

$H Rerebrake.

O.E. A pommel at the= back of a saddle to support the horseman under the shock of a tilting‑bout. (See Meyrick= , vol. ii. p. 137.)(1883m1)

$H Reredos.

(Arch.) The screen at the back of an altar, which is frequently richly carved, is called the reredos. The term also denotes an open fire= ‑hearth.(18= 91a1)

Chr. (1) The wall or screen at the back of an alta= r. In the primitive churches, in which the bishop's seat was at the back of the altar, there was no reredos. Its introduction dates from the period (about the 12th century) when the = episcopal seats and the choirs were established in = front of the altars. (2) The ROOD‑SCREEN was sometimes so called. (3) The open hearth was so called. Hollinshed relates= that, before the invention of chimneys, "each man made his fire against a = reredosse in the hall, where he dined and dressed his meat."(1883m1)

$H = Rere‑supper.

(Fr. arrière souper). The last meal taken in the day; 15th century.(1= 883m1)

$H Rert. Egypt

A late form of the goddess Ta-urt (q.v.). The word rert is merely the Egypti= an for hippopotamus. She is spoken of as dwelling in "the House of Suckling." ILLUS. Rert.(1902b1)

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$H Reseph-mikal.<= /span> Phoenicia

Reseph-mikal. "The Thunderbolt." The fire = deity of the Phenicians. On a bilingual inscription, Cypriote and Phenician, his name is translate= d by that of Apollo. He was chiefly adored in the Island of Kypros. His feminine = form was the goddess Anath or Anaites of the Egyptians, the Reshpu of the Canaanite= s and Phenicians. (1876c1)

$H Reshpu.     Egypt

A Semitic goddess. She was the feminine fo= rm of the Reseph-Mikal of the Phenician inscriptions. Her worship was introduced into Egypt by Seti I. after his return from his Sy= rian conquests. (1876c1)=

A god imported from Asia in later times, probably the same as the Phoenician war god, Resef. He is called "great god, lord of heaven, ruler of eternity, lord of might in the midst of the divine circle." He is represented with a Semitic face and natural beard, and instead of the u= raeus wears the miniature head of a gazelle on his forehead. ILLUS. Reshpu.(1902b1)

$H Resins.    (See AMBER, COPAL, DAMARA, MASTIC, &c.) (1883m1)

$H Reskhual.     Etruria

In Etruscan mythology one of the divinities attendant upon Malaviskh. (1876c1)=

$H Respond.=     Architecture

(Arch.) A term applied to the two vertical parts of a ba= y or opening, which are united by the horizontal part or lintel. The surface of the respond either is plane or varies according to the style, epoch, or character the building to which it belongs. 2 ILLUS. respond1, respond2(1891a1)

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$H Ressault.    Architecture

(Arch.) The projection of a moulding or entablature, whi= ch is advanced beyond the surface of a building. The term is also applied to= the projection of one part of a building beyond another. For instance, pilast= ers may be said to form a ressault. ILLUS. ress= ault(1891a1)

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$H Ressaunt.    Arc= hitecture

O.E. Arch. An obsolete term applied to members of architecture inflected or curved like an OGEE moulding.(18= 83m1)

$H Res-sen-ba.     Egypt

An Egyptian gentleman, of whom nothing is known except that one of his family was a chief archer named Ra-n-senb. (1876c1)

$H Ressenti.

An Italian term denoting the forcible expression of a fo= rm in a drawing. For instance, Michael Angelo's manner may be called ressenti.(1891a1)

$H Rest.    Music

Rest. In Music, a ch= aracter denoting silence for a length denoted by the character used to express the rest, i.e. semi‑breve, = minim, crotchet, quaver, &c.(1883m1)

$H Restoration.    In Architecture, a drawing of an an= cient building in its original design.(1883m1)

The restoration of pictures is a task which necessitates= the utmost prudence. If pictures are "repainted," i.e., retouched on a considerable scale, they at once lose th= eir value. Even if the portions repainted are of the smallest importance, and= if the restorer takes the greatest care in laying on tones exactly similar to the earlier ones, the retouches are enough to clash violently with the old portion of the picture, as the desiccation of the oil leads infallibly to= a modification of tone. When paintings on canvas scale off, the gaps should= be stopped with a mastic composed of whiting and = strong size. The joins may be hidden with the utmost care by means of a brush, a= nd the picture may then be covered with a layer of sicc= ative varnish.

The restoration of scul= pture, especially of ancient statues in marble, presents still greater difficult= ies than the restoration of pictures, and it should be carried out with still greater reserve. The less important parts of a figure, if missing, may be restored or replaced easily enough, either by means of plaster coloured s= o as to closely reproduce the tone of the original, or by pieces of marble fix= ed in their place by tenons or attached by coppe= r. But, as a general rule, the restoration of statues should be restricted to carrying out whatever is necessary to hold them together. It will never o= ccur again to any sculptor to attempt to restore the arms of the Venus of Milo. During the last two centuries, and even in the early part of the present century, ancient statues were restored with the most surprising boldness.= An absent head was too often replaced by another differing from it both in period and province. The Glyptothek at Munich, for ins= tance, is a monument to the misplaced energy of restorers. It is now found neces= sary to catalogue those portions of each work exhibited in that gallery which = have been added by later hands.

In architecture the obj= ect of restoration is the reproduction of a building, wholly ruined or partially destroyed, in accordance with the original plans and designs. There can b= e no doubt that of late years the work of restoring churches has been carried a good deal further in England than it should be. Architects have been too ready to destroy buildings wh= ich were perfectly safe, in order to provide themselves with an opportunity of putting something of an earlier style in their place. Lord Beaconsfield o= nce said, that no church would be properly restored unti= l we had hung an architect. We are not likely to take this extreme measure, and perhaps the safest maxim to follow is: "Restoration should not be reconstruction but only the arrest of decay."(1891a1)

$H Restore.=

To restore is to repair works of painting or sculpture, buildings and historic monuments, with a view of bringing them back as ne= arly as possible to the condition in which they were when they left the hand of the artist, and before they had suffered the defacement of time.(1891a1)<= o:p>