$H Ri.

An Assyrian or Babylonian goddess, after w= hom Hammurabi, king of Babylonia= , named his citadel.(1876c1)

$H Rial.

Rial or Royal. (Sp. real). A Spanish coin introduced into England in 16th cent. (See = REAL.)

Fig. 585. Rial. Queen Elizabeth.(1883m1)

$H Rib. Architecture

Ribs, Arch. Projecti= ng bands on ceilings, &c.(1883m1)

Rib. (Arch.) The side or projecting edge of a pointed ar= ch or vault. In the early times of Gothic architecture ribs are very simple = in profile, being generally in the form of a torus. At a later period their profile assumed delicate curves, and in the 15th cen= tury they were sometimes ornamented with bosses and garlands. ILLUS. rib(1891a1)

--- $H Rib, Diagonal.

A diagonal rib is a rib which, = in a groined compartment, passes from angle to angle and so intersects another diagonal rib in the centre.(1891a1)

--- $H Rib, Transverse.

(Arch.) In a groined compartment the transverse rib is t= he main rib stretching from wall to wall. Transverse ribs were very slightly= or ornamented in the 11th century, but their decoration became more and more rich and complicated the nearer they came in date to the 14th century. ILLUS. ribt= rans(1891a1)

--- $H Rib, Wall.

The ribs which, in a groined compartment, adhere to the wall are termed wall‑ribs. An example of= the wall‑rib may be seen in the cut given to transverse rib.(1891a1)

$H Riband.

Ribbon, Riband, Her. A diminutive of a BEND.(1883m1)

Riband. (Her.) One of the diminutives of bend. The riband is generally one‑fourth the width of the bend, but is = couped or cut short so that its ends d= o not reach to the edge of the shield.(1891a1)

Riband or Ribbon (Welsh rhibin; Irish ruibin, &c.). A long narrow web of silk worn for ornament or use; especially = for a badge of devotion in love o= r war.

"See in the lists they wa= it the trumpet's sound: Some love‑device is wrought on every sword, And every ribbon bears some mystic word." (Granville.)

The Ribbons of the v= arious orders of Knighthood are: ‑ of the GARTER, a broad dark blue ribbon passing over the left shoulder; of the THISTLE, a broad dark green ribbon= ; of St. PATRICK, a light blue; of the BATH, red; of the STAR OF INDIA, pale b= lue with white borders.(1883m1)

$H Ribbon. [See Riband - Editor]

$H Ribibe.

A kind of fiddle; 15= th century.(1883m1)

$H Ribu. Assyria

An Assyrian measure of length. It was comp= osed of twelve ka= ssi.(1876c1)

$H Rica.

R. A square piece of= cloth with a fringe, worn by priests and women on the head, and especially by t= he former when they were offering a sacrifice; ricula was a smaller veil= worn in the same fashion. (Cf. FLAMMEUM.)(1883m1)

$H Rice‑paper.

A delicate vegetable= film brought from China= , and used as a substitute for drawing‑paper in the representation of richly‑coloured insects or flowers, &c.(1883m1)

$H Ridge. Architecture

(Arch.) A term applied in buildings of the Romanesque or Gothic style to a moulding at the intersection of surfaces, especially on spires and clock towers. The word is also used in building to denote the bands of metal, generally zinc or lead, placed at the angle of roofs, and also to the semicircular tiles, covering the top of a roof. 2 ILLUS. ridge1, ridge2(1891a1)

&nbs= p;

$H Ridels.

French word for bed&= #8209;curtains; 15th century.(1883m1)

$H Ridge‑piece. Architecture

(Arch.) A piece of timber formi= ng the upper part of a roof.(1891a1)

$H Ridge‑plate. Architecture

(Arch.) Plates of lead or zinc covering the top of a roo= f. Ridge plates are sometimes surmounted by pierced crests (q.v.) and by van= es. In some Gothic buildings there are fine specimens of ridge‑plates, = the lower edges of which are cut in the form of flames, while the roofs of buildings of the Renaissance period present magnificent examples of this method of decoration.(1891a1)

$H Ridge‑tile. Architecture

(Arch.) A semi‑cylindrical tile used to cover the ridge or line of junction of the two slopes of a roof. It sometimes proje= cts beyond the edge of the roof, as is seen in our first cut. 2 ILLUS. ridgeti1, ridgeti2(1891a1)

&nbs= p;

$H Rie-aei. Egypt

A grand priest of Pth= ah. Dynasty uncertain, but of the Second Empire. (1876c1)

$H Riei. Egypt?

An overseer of the Royal House. Dynasty uncertain, but of the Second Empire. (1876c1)

$H Rifler.

An instrument used by engravers of coins, it consists of= a rounded piece of metal, the end of which is covered with interlacing striae, like a file. 2 ILLUS. rifler1, rifler2(1891a1)

&nbs= p;

$H Right of Reproduction.

The right of reproducing a work of art, whether drawn, painted, or sculptured by engraving or photographing, or of publishing a = copy of a statue in plaster, marble, terracotta, or bronze, can be assigned by= the artist. The acquisition of a work of art only confers upon the purchaser = the right of reproduction when it is a portrait or when at the time of sale t= he artist has made no restrictions. Apart from these circumstances the artist may sell the right of reproducing his work to one and the work itself to another. [Copyright. Artistic.](1891a1)

$H Ri-is-vul. Babylonia

An early Babylonian monarch. He was the la= st king of Apirak. Nothing else is known respect= ing him. (1876c1)

$H Rim-agu. Babylonia

An early Babylonian king, the seat of whose government has not yet been discovered. (1876c1)

$H Ri-marduk. Babylon

The name of a citadel which was erected at= Babylon by Hammurabi, who named it after his two protecting de= ities. (1876c1)

$H Rimenato, It.= (See CRUSCA.) (1883m1)

$H Rimes. Egypt

An overseer of the bulls of Amen. Period uncertain. (1876c1)

$H Rimmon-icab-bid. Chaldaea

Rimmon-icab-bid. "Rimmon is Terrible." In Chaldean astronomy an unidentif= ied fixed star. (1876c1)

$H Rimmon-nirari.

The son of Pudil, king of Assyria. See Vul-nirari I. (1876c1)

$H Rimsin.

The last king of Lars= a, in Babylonia. He conquered the city of= Karrak, and annexed the kingdom to his own, an event of sufficient consequence to have been used as an era by the Babylonians. After that event he ruled ov= er both North and South Babylonia till he= was conquered by Hammurabi. He made a channel fro= m the river Tigris to the sea. (1876c1)=

$H Rinceau.

A French term denoting an ornament consisting of sprigs = of foliage arranged in scrolls. Rinceaux are emp= loyed as a decorative motive in all styles of architecture. The borders of mural paintings sometimes consist of rinceaux with = palm leaves and other foliage. In the neo‑Greek style cartouches and oth= er decorations in relief are surrounded with incised ri= nceaux. In the Romanesque style examples of this form of decoration are also foun= d, but it is in Roman architecture, especially in the friezes of buildings of the Corinthian order, that the finest specimens are to be seen, formed generally of acanthus leaves. At the time of the Renaissance rinceaux were treated with peculiar delicacy, and so arranged that the portions on each side of a vertical line drawn down the centre, corresponded with one another, as far as their main outlines were concerned, but differed considerably in their details and accessories. Va= ses, mascarons, and small figures frequently break= the lines of the rinceaux. 5 ILLUS. rinceau1, rinceau2, rinceau3, rinceau4, rinceau5(1891a1)

&nbs= p; &nbs= p; &nbs= p;

&nbs= p;

$H Rindr. Scandinavia<= /st1:place>

In Scandinavian mythology a wife of the go= d Odin, by whom he had Wali, the avenger of the death= of Baldur. (1876c1)

$H Ring. Jewellery

Rings. The symbolic = use of signet‑rings is mentioned in many passages of the Holy Scriptures, especially as a transfer of authority; as Pharaoh to Joseph (Gen. xli. 42= ), Ahasuerus to Haman, &am= p;c. A large collection of Egyptian signet‑rings is in the British Museum, many being much too large to be worn on the hand. EGYPTIAN rings were of ivory, porcelain, or stone, but generally of gold. The ETRUSCANS and SABI= NES wore rings at the foundation of Rome, 753 B.C., those of the former being remarkable for beauty and intrinsic value. The LACEDAEMONIANS wore iron rings. The ROMANS also under the Repu= blic were proud of wearing an iron ring; under the Empire the privilege of wea= ring a ring raised the wearer to the equestrian order. GREEK and ROMAN rings w= ere, generally speaking, massive and simple, and of obvious value in metal and stone, until in the degenerate times of the Empire luxury spread, and the lower classes began to disfigure themselves with cheap jewellery. Solid rings were carved out of rock‑crystal in Christian times; and others were made of stone, chiefly of calcedony. Rings of amber, glass, earthenware, and other materials were exhumed at <= st1:City w:st=3D"on">Pompeii. The BR= ITONS and SAXONS had beautiful jewellery. The forme= r wore the ring on the middle finger; the Anglo‑Saxons on the third finger= of the right hand, which was thence poetically called the "golden finger." A beautiful specimen of enamelled art is the gold ring of Ethelwulf, king of Wessex (the = father of Alfred the Great), now in the medal room of the British Museum. Among the ni= ello rings of the Saxon period is one in the British Museum inscribed "Ahlreds owns me, Eanred engraved me." Plain wire rings, or plai= n bands of metal merely twisted round the finger, are common objects in Saxon tom= bs; but the most beautiful specimens of this, as of other branches of the goldsmith's art in antiquity, are from IRELAND. In SCANDINAVIA the earliest forms are spiral, and of simple workmanship. RINGS were a pa= rt of the official jewellery of kings, bishops, = and cardinals; and the fisherman's ri= ng, with a representation of St. Peter in a boat fishing, was the papal ring of investiture. A copious literature on this special subject deals with the superstitions, ceremonies, customs, and anecdotes connected with finger‑rings, as well as with their exemplification of the history of the development or decadence of art. A collector divides his rings into = Antique, Mediaeval, and Modern; the former period ending A.D. 800, and. classified by nationalities. The later collections are classified as Official: ecclesiastical, civil, and military; or Personal, viz. signet‑ring= s, love and marriage, mourning, &c.; historical, religious (i.e. devotio= nal, &c.), magic, and simply ornamental. (The substance of the above is dr= awn from Finger‑ring Lore, &c., by W. Jones, Chatto, 1877; and Antique Gems, by the Rev. C. W. King<= /i>. For the significance of rings in connexion wi= th the history of Christianity, see Smit= h and Cheetham, Dict. of Chri= st. Ant. s. v.)

Fig. 586. Ring of chiselled iron. French. 16th century= .

Fig. 587. Venetian Ring. 16th Century.(1883m1)

&nbs= p; &= nbsp; &nbs= p; &nbs= p;

--- $H Rings. Egypt

Rings. Egypt. Many have been found= in gold, silver, bronze, iron, enamel, or frit and stone. Some of the designs are very charming. Some consist of a single wire with a scarab set so tha= t it can turn round.(1902b1)=

The Egyptians used finger and signet rings= on the fingers, and even thumbs, of both hands, and often many in number. The oldest signet rings were made with solid or revolving bezels, often of rectangular shape, and with the name of the monarch inscribed upon them. = Some of solid gold, others with glass or cylindrical bezels of hard stone. Bes= ides rings with swivel setting, the Egyptians also had others of gold, silver, bronze, carnelian, or jasper, made of a solid piece of metal, with an oval bezel engraved in intaglio with the name of a deity, king, or person. The= re were also finger rings of coloured porcelain with a bezel, and inscriptions, some of which bear the names of kings of the XVIIIth and XIXth dynas= ties; but they seem too fragile for ordinary use, and were probably only employ= ed for funereal purposes. (Birch.) (1876c1)

$H Ring Mail.

Flexible armour of iron rings interwoven; introduced from the East by the Crusaders.(1883= m1)

$H Rinman's Green. (See COBALT.) (1883m1)

$H Rip‑rap. Architecture

Arch. A builder's te= rm for a foundation of loose stones.(1883m1)

$H Riposo.

It. The rest of the = Holy Family during the Flight into Egypt is often shortly designated the Riposo; it is treated by different masters in a great variety of styles.(1883m1)

$H Riscus.

R. (Õ\F6@H[=3Drhiskos]). A wa= rdrobe or chest for clothes.(1883m1)

$H Rising. Heraldry

Rising, Roussant. He= r. Said of birds about to take wing.(1883m1)

$H Ris-ris-ati. Chaldaea

Ris-ris-ati. "Chief of= the Beginning." In Chaldean astronomy a name of the planet Mercury. (1= 876c1)

$H Rissolé.

A term used in French art‑criticism to describe a picture of a golden tint. Some painters of the Romantic school have attempted to reproduce the tones rissolés of Rembra= ndt, but have too often merely succeeded in getting red, heavy tones.(1891a1)<= o:p>

$H Ritho. Egypt

Ritho. The wife of the deity Mentu, or Month, who was the sun deifie= d as a death giver. Her Egyptian name was Ra-Taoui. (Wilkinson.) (1876c1)

Ratta. Or Ritho= . An Egyptian goddess, the wife of the god Mentu. = She was adorned with the disk and horns of Hathor= , and was particularly invoked at the accouchement of royalty. Her analogue was= the Lucina of the Romans. (1876c1)

$H Ritual of the Dead. Egypt

The name given by Egyptologists to the old= est sacred book of the Egyptian theology. Portions of this work date from the time of King Gaga-makheru, a monarch of the <= span class=3DSpellE>IIIrd dynasty, the text itself being in many places accompanied by a gloss, which was added at a later period, to render it intelligible. The deities principally mentioned in it are Osiris, Anubis, Horus, an= d Tum; Amen Ra as a distinct divinity being only indi= rectly referred to. Although the mystical work is now treated as one book it is really made up of a collection of not less than eighteen separate treatis= es, including three supplemental chapters and two Litanies, which seem to have been added at the time of the New Empire. Selections of chapters and illustrations from the Ritual abound on the walls of many of the tombs of= the XVIIIth and XIXth dynasties, and notably on that of Seti-Menepthah I., in the Biban el Moluk. Other chapters were used as mystical formulae to avert diseases, others a= s a part of the religious worship of the Egyptians, and a few obscure passage= s as secret mysteries, the meaning of which is now lost. Many hundreds of papy= ri have been found in the mummy-cases, which contain different portions of t= he Ritual with their accompanying vignette and rubric, but a complete recension and comparison of all the existing texts = has not at present been effected. The text of the Ritual underwent no less th= an three different revisions, namely in the Ancient Empire, in the period of= the XIXth dynasty, and in the reign of the Saite kings. This last was the edition which is most commonly met with, but there appears to have been an attempt at a partial re-edition in the Ptolemaic period. The chief divisions or books of which= the Ritual of the Dead is composed are as follows;-

CHAP= S.

1. The Manifesta= tion to Light. (First Book) = &nb= sp; = &nb= sp; i.-xvi.

2. The Egyptian = Faith = ; &n= bsp; = ; &n= bsp; = ; &n= bsp; xvii.-xx.

3. The Reconstru= ction of the Deceased &= nbsp; &nbs= p; &= nbsp; &nbs= p; xxi.-xxvi.

4. The Preservat= ion of the Body in Hades = ; &n= bsp; = ; &n= bsp; xxvii.-xlii.

5. The Protectio= n in Hades = ; &n= bsp; = ; &n= bsp; = ; xliii.= -li.

6. The Celestial= Diet = ; &n= bsp; = ; &n= bsp; = ; &n= bsp; lii.= , liii.

7. The Manifesta= tion to Light. (Second Book) = ; &n= bsp; liv.-lxxv.

8. The Metamorph= oses = ; &n= bsp; = ; &n= bsp; = ; &n= bsp; lxxvi.-xc.

9. The Protectio= n of the Soul; or Forms for Various Occasions = xci.-cxvi.

10. The Going in= to and out of Hades &nbs= p; &= nbsp; &nbs= p; &= nbsp; cxvii.-cxxiv.

11. The Hall of = the Two Truths = &nb= sp; = &nb= sp; = cxxv.

12. The Gods of = the Orbit = ; &n= bsp; = ; &n= bsp; = ; = cxxvi.-cxxix.

13. The Passage to the Sun, or Adorations to the Sun. = ; cxxx.-cxl.

14. The Festival (Litany) of the Names of the Gods &= nbsp; &nbs= p; &= nbsp; cxli.-cxliii.

15. The House of= Osiris; or, The Chapter of Making the Amulets = ; cxliv.-clxi.

16. The Orientat= ion = ; &n= bsp; = ; &n= bsp; = ; &n= bsp; clxii., clxiii.

17. The Three Supplemental Chapters &= nbsp; &nbs= p; &= nbsp; clxiv.-clxvi.

18. The Assistan= ces of Horus &= nbsp; &nbs= p; &= nbsp; &nbs= p; &= nbsp; i., ii.

From these it will be seen the arrangement of the ch= apters is inconsecutive as far as their subjects are concerned; and there is eve= ry reason to believe that the order in which they now occur, especially in t= he English translation, is somewhat arbitrary. The Ritual is rarely found written in Hieratic, and still more rarely in Demotic. The finest examples are those in the Museums of the Louvre and Turin. (1876c1)

$H Rivers, Chr.<= span style=3D'mso-spacerun:yes'>

Chr. The four rivers of Paradise are variously represented in primitive Christian, art; e.g. the LAMB standing on a mountain, from which they flow; or they are personified, and symbolize the four Evangelists: the Gihon is St. Matthew; <= span class=3DSpellE>Pison, St. John; T= igris, St. Mark; and Euphrates, St. Luke. The following lines in one instance accompany such a representation on an engraved copper plate: ‑

"Fon= s paradisiacus per flumina= quatuor exit; Hec quadriga levis te PD,[=3D= chre] per omnia vexit."

In CLASSIC art gener= ally, rivers are personified as half‑prostrate figures reclining upon an = urn, and marked by certain attributes; e.g. of the Nile, a hippopotamus; of the Tiber, a wolf suckling Romul= us and Remus; other rivers by the flora or by ce= rtain cities of their banks, &c. (Consult Didron, Iconographie Chrét.; Martigny= , &c.)(1883m1)

$H Rivet. Construction

(Constr.) A nail with a roun= dhead the extremity of which has been flattened so as to form a second head. Ir= on plates are often joined with rivets, made red hot and hammered. In small works riveting is done without heating the rivets. ILLUS. rivet(1891a1)