$H Scabbard.

The sheath of a sword, which was generally decorated with much elaboration. Many artists have provided the goldsmiths with designs = for scabbards, and at the B= ritish Museum may be see= n some exquisite designs for scabbards by Holbein.(1= 891a1)

$H Scabellum.

Scabellum, R. (dimin. from SCAMNUM, q.v.) (1) A stool or step to get into bed with. (2) A shoe with a castanet in the sole, with which the wearer beat time, as an accompanimen= t to music.(1883m1)

Scabellum. (Arch.) In the ancient languages the term scabellum denoted a kind of square footst= ool, with a pedestal of a considerable size, and about the height of a step, as well as a movable footstool which was placed under the feet of statues, representing a god seated on his throne. In modern architecture the term = is applied to square pedestals with or without a capital, of no great height, the purpose of which is to support a bust. In this case it is placed over= a grave or behind a sarcophagus, or simply set up as a kind of commemorative monument. 2 ILLUS. scabe= ll1, scabell2(1891a1)

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

$H Scaffold. Architecture

(Arch.) When a building is in c= ourse of construction, or a large mural surface is being painted, the upper part of the wall or building is reached by means of a scaffold, which is a tempor= ary construction, made up of poles and planks.(1891a1)

$H Scagliola.

(It. scaglia, a chip of marble= ). Artificial marble made of gypsum, glue, &c., of variegated colours, in imitation of marble, applied in ornamen= tal work like stucco, but admitti= ng a fine polish.(1883m1)

A spurious marble, composed of gypsum and glue. A varieg= ated surface is obtained by sprinkling finely powdered spar, marble, &c., = over it. It was first made in the 17th century by Guido del Conte, but its use cannot be recommended as it is not durable.(1891a1)

$H Scalae.

R. (scando, to climb). A ladd= er or staircase.(1883m1)

$H Scald.

Scand. A poet or bard.(1883m1)

$H Scaldino.

It. A copper.(1883m1= )

$H Scale. 1. Painting; 2. Architecture

Scale. (1) (Paint.) Pictures, whether on canvas or panel, are said to scale, when their surface cracks and the paint comes off in flakes. The scaling of pictures= is due to the varnish used, to bad mixtures of colour, and also to want of c= are in the rolling of the canvas.

(2) (Arch.) A system of ornament consisting of tiles cut obliquely, or notched so as to form arcs of circles. Scales are used to c= over the surface of inclined walls, so that they may resemble a roof. They were first used in the 12th century, when they were either square or semicircu= lar. In the 13th century they varied very much in form, and in buildings of the Renaissance fine specimens were found pierced with all kinds of patterns.= 2 ILLUS. scale2a, scale2b=

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

(3) A proportion adopted in executing a reduction or enlargement of any work. A scale is a graduated line, upon which are mark= ed the multiples of the unit of length. This unit is greater or less, accord= ing as the objects to be reproduced are to be reduced or enlarged. ILLUS. scale3(1891a1)

--- $H Scale, Dott= ed. Architecture

(Arch.) An indication of the length, altitude, and dimensions of a building written in figures on a sketch or plan drawn to a known scale. ILLUS. scaledot(1891a1)

--- $H Scale, in Music (It. scala, a ladder). (See TONES.) (1883m1)

$H Scale‑sto= ne. Sculpture

(Sculp.) When a clay model i= s to be reproduced in marble, the marble block which is to be carved and the c= lay model are set upon similar blocks, called scaleR= 09;stones. Before the work of pointing (q.v.) begins, the s= cale blocks are covered, each with a series of similar marks.(1891a1)

$H Scalmus.

R. (F6"8:`H[=3Dskalmos]). The = thole, or strong peg with a thong, with which an oa= r was attached to the side of a ship.(1883m1)

$H Scalper, Scalprum.

R. (scalpo, to cut). A genera= l term for all kinds of cutting tools, such as chisels, knives, &c.(1883m1)<= o:p>

$H Scalptura.

Engraving in precious stones. (See INTAGLIO, CAMEO.)(1883m1)

$H Scallop Shells. <= /span> [See Escallop – Editor]

$H Scamnum.

R. (scando, to climb). A stoo= l for a bed or arm‑chair, or a stone bench with a step.(1883m1)

$H Scandula.

R. A wooden shingle = used for tiles (tegul= ae).(1883m1)

$H Scansoria Machina or Scansorium.

R. (scando, to mount). A scaffolding, such as a tower, which enables work to be carried on at vari= ous heights from the ground.(1883m1)

$H Scantling.

Scantling. In Masonry, the size of a stone, in length, breadth, and thickness. In Carpentry, the dimensions of a timber in breadth and thickness only. Any piece of ti= mber less than five inches square is called scantling.(1883m1)

Scantlings. (Sculp.) The pie= ces of stone or marble removed from a block by means of a hammer and chisel in t= he process of roughing in (q.v.) are called scantlings.(1891a1)

$H Scapha.

R. (F6VN0[=3Dskaphe], i.e. d= ug out). A long‑boat or cutter attached to a larger vessel; obviously, from the etymology, a sort of canoe in its origin; our "skiff."(1883m1)<= o:p>

$H Scaphium.

R. (= F6VN4@<[=3Dskaphion]). A vessel of Greek origin and of small size, and= in the form of a boat (scapha), which, though used as a drinking‑cup, is especially to be classed a= mong sacrificial utensils.(1883m1)

$H Scapple.

In Masonry, to reduc= e a stone to a straight surface, without making it smooth.(1883m1)=

$H Scapulary.

Scapulary. (Cost.) A narrow band= of stuff which reaches from the shoulders to the feet. It forms part of the costume of some monastic orders.(1891a1)

Scapulary, Chr. A part of the monastic dress, worn by both sexes over the shoulders (scapula). It is generally a narrow strip of cloth contrasting= with the colour of the dress, reaching almost to t= he feet.(1883m1)

$H Scapus.

Gr. and R. (<= 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'>F6B@H[=3Dskapos]). A sha= ft or stem. This term is applied to several distinct things, which all, however, imply an idea of use in support of some other thing; as, for instance, the shaft of a column, which supports a capital, and occasionally an entablat= ure; the central shaft or newel which supports the staircase of a column; the = stem of a candelabrum or lamp‑rest, and so on.(1883m1)=

$H Scarab, Scarabaeus, or Scarabeus.= Egypt

Scarab. A carved stone represen= ting a beetle. Scarabs were prized among the Egyptians as amulets, and large collections of them have been made in modern times accurately dated by me= ans of the hieroglyphics engraved upon them.(1891a1)

Scarabeus= . The Ateuchis sacer or sacred beetle of Egypt. It was the emblem of the great deity Kheper R= a in his character of producer and sustainer of life. The sacred scarab is more extensively found than any other divine emblem in Egypt, and in the form of an amulet or ornament was imported into Syria and Phenicia. (1876c1)

Scarab. This is an amulet made in the form of the beetle known as Scarabeus sacer. It is the symbol of the god Khepera, i.e. "he who turns" or "rolls," for the conception was that Khepe= ra caused the sun to move across the sky as the beetle causes its ball to ro= ll. A scarab inscribed with the 30th (B) chapter of the "Book of the Dead" took the place of the heart in the body of the deceased. The prescribed form for such heart-scarabs was gold plated, with a silver ring for attachment. Scarabs have been found in great number and variety. They were made in amethyst, crystal, lapis lazuli, carnelian, granite, and many other stones. The majority were composed of faïence.(1902b1)

Scarabaeus (Egyp.), or sacred ateuchus, is an attrib= ute of Phtha, and the symbol of creation. Under the name of Kheper (creator), the scarabaeus was given to the soldiers in exchange for their oath of fidelity, and worn by them as a finger ring. W= ith wings extended (as in Fig. 603) it is a funereal ornament.

Fig. 603. Scarabaeus, sacred.(1883m1)

$H Scarabeus Sacer. Egypt

A large beetle of black metallic colour common in Egypt. It is remarkable for= the peculiar position and shape of the hind legs, which are placed very far a= part and at the extreme end of the body. This is to enable the insect to roll = the ball of refuse containing its eggs into some place of safety. At first th= ese balls are soft and shapeless, but as they are pushed along by the scarab'= s hindlegs they become firm and round, and increase i= n size until they are sometimes an inch and a half in diameter. This insect is looked upon by the Arabs as an emblem of fertility.(1902b1)

$H Scarf.

A piece of wood placed diagonally across a series of pla= nks, which it serves to strengthen and hold together. ILLUS. scarf(1891a1)

$H Scarlet.

Scarlet. (See IODINE SCARLET.) (1883m1)

(Paint.) A bright red colour of great brilliance obtained from the action of chloride of zinc and cream of tartar upon cochineal.(1891a1)

--- $H Scarlet Ochre. (See VENETIAN RED.) (1883m1)

$H Scarp. Architecture

Scarp. (Arch.) The exterior surface of a wall inclined in talus (q.v.). In fortification the scarp is the back of the fosse placed = at the side of the rampart facing the besieging party. ILLUS. scarp(1891a1)

$H Scarpe. Heraldry

Scarpe, Escarpe, Her. A diminutive of a bend sinister.(1883m1)

Scarpe. (Her.) A scarpe in heraldry is a diminutive of the bend sinister (q.v.). The shield in our c= ut may be blazoned, Argent, a scarpe, gules. ILLUS. scarpe(1891a1)

$H Scarpellino.

An Italian word denoting a workman employed by a sculpto= r to carve his work in marble. The work of the scarpellino is checked by= the use of a pointing machine, but the scarpellino, who puts the finishing touches to the marble, must possess skill both of eye = and hand.(1891a1)

$H Scauper. Engraving

A tool used by engra= vers; a kind of gouge. (Angl. scooper.)(1883m1)

(Engrav.) A tool used by woodcutters to cut away the spaces between the lines of a block. In line engraving an instrument of the same name is used to draw broad strong lin= es. 2 ILLUS. scauper1, scauper2(1891a1)

&nbs= p; &= nbsp;

$H Scavistika.

An early Buddhistic symbol, a combination of the Greek fret or clawed cross. It was originall= y a monogram of the word happiness, a meaning which it still bears in Japan. (1876c1)

$H Scemiophris. Egypt

According to the Greek lists the name of an Egyptian queen of the XIIth dynasty. She has = not yet been certainly identified. (1876c1)

$H Scena.

(1) The stage of a t= heatre, including not only the part so called at the present day, but the wall at= the back, which was provided with three doors, one in the centre (valvae regiae<= /i>), and two lateral ones (valvae hospitales).

(2) A double‑e= dged axe, used in the sacrifices; one of the iron sides of this axe had the br= oad blade of the securis, and the other that of the dolabra. In the sense of "an axe," scena i= s the contracted form of an old Latin word sacena.(1883m1)

$H Scene‑painting. &n= bsp;

Scene‑painting was invent= ed by Inigo Jones, about 1610.(1883m1)

Scene‑painting was hardly practised at all in England<= /st1:place> until after the Restoration. As everyone knows in Shakespeare's time the scenic arrangements were of the simplest kind, and the drama seems to have flourished very well without elaborate mounting. The first attempt at sta= ge adornment was made by Inigo Jones, who, howev= er, relied upon machinery and heavy sets rather than upon painted scenes. His experiment does not seem to have met with encouragement, and no more tria= ls were made in this direction until the time of Better= ton. Even then heavy sets were for some time popular, but better taste interve= ned at last, and during Garrick's management de <= span class=3DSpellE>Loutherbourg did much to advance the scenic art. Am= ong the artists who have also been scene‑painters we may mention Nasymth, David Roberts, and Stanfield, while the na= me of Beverley is indissolubly connected with the theatre. In the present age t= he legitimate art of scene‑painting in less encouraged than that (it a= rt it may be called) of stage‑carpentry, and the machinist is a more dignified person than the artist.(1891a1)

$H Scenographia.

R. (F60<@‑(D"N\"[=3Dskeno‑graphia]). The drawing of a building in pers= pective. A geometrical plan is called = orthographia.(1883m1)

$H Scevophylacium. [See Diaconicu= m]

$H Sceptre.

Gr. and R. (<= 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'>F6BJD@<[=3Dskeptron]). Ori= ginally, in early antiquity, a long staff similar to the shaft of a spear, which w= as carried by great persons to lean on when walking. Afterwards it became th= e truncheon, and a weapon of offen= ce and defence. Later on, an ornament was added to t= he upper end of this staff, and it became the insignia of power and authorit= y. The ivory sceptre of the kings and consuls of= Rome was surmou= nted by an eagle. The sceptre was an attribute of Jup= iter and Juno, as sovereigns of the gods.(1883m1)

Egypt= . There was no one sceptre proper to royalty. Kings and gods are alike represented holding the user sceptre with= the greyhound (?) head, and though goddesses are more frequently shown holding one with a lotus flower at the top, they also often carry the other.(1902= b1)

$H Scenae-mandrarum. Egypt

In Ptolemaic times a chief town in the Aphroditopolite nome of= the Heptanomos. (1876c1)

$H Scha-ea. Egypt

An overseer of the choristers of Amen Ra. Period uncertain. (Leemans.) (1876c1)

$H Schaedia. Egypt

In the Ptolemaic period a great dock city = in the Hermopolite nome of Lower Egypt. (1876c1)

$H Schafte. O.E. (See SHAFT.) (1883m1)

$H Scha-em-tenu. Egypt

The "Overseer of the Sculptors of the= Temple" of = Amen Ra. The time when he lived is uncertain, except that it was in the Second or Middle Empire. (1876c1)

$H <= span class=3DSpellE>Scha-rei. Egypt

The wife of Amen-nekh= t, an officer of justice in the XVIIIth dynasty. (1876c1)

$H Scheds-nefer. Egypt

An Egyptian priest of Apis in the XXVIth dynasty. (1876c1)

$H Scheele's Green.

A green pigment; an = arsenite of copper; arsenite of potash mixed with sulphate of copper; used in= oil and water‑colours.(1883m1)

(Paint.) Scheele's green is a compound of copper and arsenic. It is a pigment of useful colour and more permanent than other greens obtained from copper.(1891a1)

$H Schent. Egypt

Pschent. Or Schent. [For headdress, see P= schent – Editor]

Schent. An obscure Egy= ptian goddess, who was called the lady of heaven. She was one of the many forms= of the goddesses Isis or Nut. (1876c1)

$H Schep-maut. Egypt

The wife of Pa-du-ame= n-nes-ta-ui, the third priest of Amen-Ra-Schep-Maut, which= see. (1876c1)

$H Scherzo. <= /h1>

It. (playful). A lively style in music; faster than the minuet (su= ch as in Beethoven's Second Symp= hony, op. 36, in D major).(1883m1)

$H Scheschanq. Egypt

The French form of the Egyptian royal name= now generally read Shishank, which see. (1876c1)<= o:p>

$H Schleswig Lace.

North Schleswig (or South Jutland) is the only province of Denmark in whi= ch there was a regular manufacture of lace. The art itself is supposed to ha= ve been introduced, in 1515, by Queen Elizabeth (sister of the Emperor Charl= es V., and wife of Christian II. of Denmark). About 1712 lace&#= 8209;making was much improved by Brabant women. The earlier specimens are all of Flemish character, made on the pillow in the same way, occasionally imitating the Mechlin ground with the pa= ttern apparently run in with the needle. All Schleswig laces are remarkable for the= ir fine quality and excellent workmanship. The engraving shows part of a shi= rt‑collar of Christian IV., of a Brabant pattern to be seen in his portrait in Hampton Court Palace.

Fig. 604. Schlesw= ig Lace.(1883m1)

$H Schmeltz.

Germ. Glass ornament; produced by fusing lumps of coloured glass to= gether to imitate marble, cornelian, and other stories. (See GLASS.)(1883m1)

$H School of Painting<= /st1:PlaceName>.

In the most rigid application of the term, school of painting denotes the painters or pupils who worked in the bottega = or studio of one master. Hence it was extended to include the painters of a = city or province, who learnt their art from one master. A picture is said to belong to the school of a master when it is executed in the style of that master. We may also speak of the English school, the French school, meani= ng thereby the painters of England or France, of every date and every style.(1891a1)

--- $H School of Painting,= Bolognese.

The Bolognese School<= /st1:PlaceType> flourished in the 16th and 17th centuries. It was characterised by learni= ng and a sense of decorative effect, but was marred by = academical precision. Its chief masters were the Caracci, Guido, Albano, Domenichino and Guercino. Of the earlier Bolognese School of the 15th century Francia was the best representative.(1891a1)

--- $H School of Painting, Brescian. = ;

The greatest artists of the <= span class=3DSpellE>Brescian School (16th century) are Moretto and Moroni, b= oth distinguished painters of portraits. Moroni's masterpiece, Il Taglioni, is to be seen in the National Gallery.(1891a1)

--- $H School of Painting,= Dutch.

The Du= tch School is disting= uished for the realism of its portraits and genre pictures, and for the excellen= ce of its landscape. The greatest master of the school in the 16th century w= as Lucas van Leyden. In the 17th century flouris= hed Rembrandt, the greatest master of light and shade the world had seen, Ger= ard Dow, de Hooghe, Terburg<= /span>, Metzu, Van Ostade, Teniers, and Wouverman,= all of whom were distinguished by the careful finish and accurate drawing of the= ir works, Ruysdael, Cuyp, Van der Velde, Hobbema, and Van der Meer, painters of landscape and sea‑pieces, a= nd Paul Potter, famous as a painter of animals.(1891a1)

--- $H School of Painting, English.

The English painters of the 16th and 17th centuries were, with the exception of Dobson, an excellent portrait painter and pupil of = Vandyck, chiefly miniaturists. Vandyck, Sir Peter Lely and Knell= er, all spent many years in England, but can hardly be said to belong to the English school. In the 18th centu= ry the English School first became of real importance. Hogarth, the caricaturist, is by = some regarded as the father of English painting. To the same period belong Rey= nolds, Gainsborough, Romney, Richard Wilson, and Morland. In the early part of the 19th century the landscape painters of England were justly celebrated. Among them are Constable, Crome, Cotman, Turner, Boningto= n, De Wint, and Copley Fielding. In portraiture = and genre the most distinguished pai= nters of this period were the Scotchmen Raeburn and= Wilkie. The Englishmen Lawrence, West, Barry, Northcote, Mulready, Maclise, and the rest are as a rule feeble in drawi= ng and colour, and too often trivial in sentiment. About the middle of the prese= nt century a revolution was brought about in English art by the efforts of t= he Pre‑Raphaelites (q.v.). of whom the most striking representative is perhaps D. G. Rossetti. The last ten or twenty years have been distinguished by a great outburst of artistic energy, a g= ood deal of the best work being produced under the direct influence of the Fr= ench School. The English School in one bra= nch, that of water‑colour, has always claimed to take precedence of all other schools. From the 18th century onwards the list of English water= 209;colour draughtsmen is a long one, including Girtin, = de Wint, David Cox, Prout,= William Hunt, Turner, &c. But it should be remembered that their methods are = not those of the painter, and in spite of our oft‑repeated boast, we ha= ve none who can handle water‑colour with the skill and artistic feelin= g of the modern French and Dutch aquarellistes.(18= 91a1)

--- $H School of Painting,= Ferrare= se.

The school of= Ferrara, whi= ch flourished in the 15th and 16th centuries, was closely connected with tha= t of Bologna (q,v.). Like the Bolognese, the Ferrarese painters were for the most part academic and uninspired. Among the artist= s of Ferrara the chief were Lorenzo Costa and Dosso Dossi.(1891a1)

--- $H School of Painting, Flemish.

The peculiar glory of the Flemish School is the richness of colour affected by its masters. For three centuries th= is School held an unrivalled position in European art. In the 15th century flourished the Van Eycks. The portrait of Arnolfini and his wife by Jan van Eyck, which is now in the National Gallery, is one of the finest pictures ever painted. The Van Eycks were followed by their pupils Van der Weyden and Memling. In the 16th century the Flemish School fell under the influence of Raphael and suffered considerably from the &q= uot;Italianisers." Among the Flemish painters of t= his century may be mentioned Van Orley, Mabuse, Pourbus, and An= tonio Moro. In the 17th century there was a distinct revival of the glory of Flemish art, brought about by the genius of Rubens, = Vandyck, Snyders, and others.(1891a1)

--- $H School of Painting,= Florentine.

Florence<= /span> was the cradle of the Renaissance of art, and the Florentine School occupies the most importa= nt position of all the Italian schools of painting. To the 13th century belo= ngs Cimabue; to the 14th Giotto, the father of modern painting, and Orcagna; t= o the 15th Masaccio, Filippo Lippi, Sandro Botticelli, Ghirlandaio= , Pollaiuolo and Verrocchio; to the 16th Luca Signorelli, Leonarda da Vinci, Lorenzo di Credi, Michael Angelo, Andrea del Sarto, Sodoma and Bronzino.(1891a1)

--- $H School of Painting, French= .

The Fr= ench School took its r= ise in the 15th century. Its earliest manifestations were the miniatures of Jean= Foucquet, and in the portraits in oil by Clouet. These early works were produced under the influence of da Vinci, del Sarto, and Cellini, and= were mere pastiches of the Italian style. Then came Jean Cousin, who was paint= er, sculptor, and architect; he was followed by Quentin = Varin (the master of Poussin), Vouet, Callot, Le Nain, = Lesueur, N. Poussin, Cl= aude Lorrain, Lebrun, Jouvenet and Monnoyer. = These artists conferred distinction on the 17th century. In the 18th century li= ved Le Moyne, Vanloo,= Oudry, Watteau, Lancret, Boucher, Fragonard, Greuze, Chardin, and Vernet. Towards the end of the 18th century Louis D= avid attempted a revival of classicism with some success. The school of the ea= rly 19th century included Prud'hon, Gros, C. Vernet, Gérica= ult, Ingres, Delaroche= , Ary Scheffer, Delacroix= , Charlet and H. Vernet. = The great revolt against classicism took place about 1830, and Géricault and Delacroix prepared the way for= the Romantic movement, out of which came Corot, D= iaz, Th. Rousseau, Troyon, Couture, Courbet, Fromentin, J.‑F. Millet. The French sch= ool of to‑day undoubtedly takes the lead in Europe as far as technical ski= ll is concerned, and the schools of Paris afford the most efficient education. At the same time it must be acknowle= dged that much of the most modern French art suffers somewhat from a love of morbid sensationalism.(1891a1)

--- $H School of Painting,= German.

The Ge= rman School of painting dates from the 14th century, William of Cologne, whose St. Veronica is in= the National Gallery, being its earliest master. In the 15th century the most important German painters were Martin Schongauer, Lucas Cranach, and Albert Dürer, all of them perhaps more famous as wood engravers than as painters. The greatest German master of the 16th century was Holbe= in. Since his period the German School has produced very few great painters, although at the present day the schools in Munich and some German towns are admi= rably conducted and much frequented.(1891a1)

--- $H School of Painting, Lombard.

The Lombard <= st1:PlaceType w:st=3D"on">School of painting includes the schools of Mantua, Modena, Parma, Cremona, and Milan. The period of its highest development was in the 15th and 16th centuries.= It numbers among its members Andrea Solario, Bernardino Luini, Correg= gio, Caravaggio, &c.(1891a1)

--- $H School of Painting, Luccan. &= nbsp;

It was at Luc= ca that the earliest painters o= f Italy worked. In the 12th and 13th centuries a kind of rude traditional art was practised by Giunta, Pis= ano, and others at Lucca. This was before the re‑discovery of the art of painting by Cimabue and Giotto, and= the examples of the Luccan School have little else than an archaeological interest.(1891a1)

--- $H School of Painting, Milanese. $G=

In the 16th century the chief master of the School of Milan was V= incenzo Foppa. In the 16th century the school was dom= inated by the influence of da Vinci, and during this period it numbered among its masters Luini, <= span class=3DSpellE>Beltraffio, Gundenzio, = Ferrari, and Andrea Solario.(1891a1)=

--- $H School of Painting, Modenese. = ;

The School of= Modena is a subdi= vision of the Lombard School. In the 16th century Correggio and Parmigiano were its most distinguished masters.(1891a1)

--- $H School of Painting,= Neapolitan.

The Ne= apolitan School has no dis= tinct character of its own, and only consisted of foreign painters up to the 17= th century. In the 15th century works by Van Eyck influenced the painters of N= aples. Antonello da Mess= ina, who was then at Naples, learnt the method of= the Flemish master, but he soon returned to Messina and finally settled at Venic= e. In the 17th century Aniello Falcona, Salvator Rosa, Luca Giordano, and the Spaniar= d Ribera all worked at Naples.(1891a1)

--- $H School of Painting, Paduan. &= nbsp;

The one great figure of the Paduan School is Andrea Mantegna, who flourished in the 15th century. He was influenced by and in turn influenced the Venetian= School, in which = he is generally given a place.(1891a1)

--- $H School of Painting,= Roman.

An offshoot from the Umbrian School. Nearly all the members of the school came from other cities and worked un= der the influence or carried on the tradition of Raphael. As we should expect from this fact, the Rom= an School is disting= uished by a knowledge of composition and perfection of draughtsmanship. Raphael = and Giulio Romano were the chiefs of the school in the = 16th century, while Sassoferrato and Maratti represent it in the 17th.(1891a1)

--- $H School of Painting, Sienese. =

The Sc= hool of Siena is one o= f the earliest of the Italian schools. In the 13th century its masters were Gui= do da Siena and Duccio; in= the 14th century Lippo Memmi= and Ambrogio Lorenzotti<= /span>, in the 15th Sano di Piet= ro and Matteo di Giovanni.(1891a1)

--- $H School of Painting, Spanish.

The most strongly marked characteristics of the painters= of the Spanish School are a love of realism and= the lavish use of brilliant colour. In the 15th century Spanish artists merely copied Italian masters. In the 16th, in which century they achieved their national style, the most celebrated masters of the Spanish School were Alonso Berruguete, Luis Morales, Alonzo Sanchez Coello, Jose Rib= era, and Ribalta. Then came F. de Herrera, Diego Velasquez, Alonzo Cano, Francisco Zurbaran and Murillo. In the 18th century the Spanish School is represe= nted by Goya, while in the present century the greatest Spanish painter has be= en Fortuny.(1891a1)

--- $H School of Painting,= Umbrian.

In the 15th century the chief painters of the Umbrian School were Allegretto Nuzi, Gentile da Fabiano, Piero della Francesca and Fiorenzo di Lorenzo. Then followed Timo= teo Viti and Perugino= , and the latter's pupils Raphael, Lo Spagna, and <= span class=3DSpellE>Pinturrichio.(1891a1)

--- $H School of Painting, Venetian.

The characteristic of the art of the Venetian painters is brilliant colour. In the 15th century flourished Cri= velli, Gian and Gentile Bellini= and Carpaccio, in the 16th century lived Giorgione, Palma Vecchio, Titian, Tintoretto, Lorenzo Lotto and Paul Veronese. The Venetian School of the 17t= h and 18th centuries is represented by Tiepolo, Canaletti and Guardi.(1= 891a1)

--- $H = School of Painting, Ver= onese.

The Veronese School attained its height in the 16th century, when Domeni= co Moroni. Bonsignori and Cavazzola flourished. Pisanell= o, the most distinguished member of the school, belongs to a slightly earlier date.(1891a1)

<= o:p>

$H Schweinfurt or Schweinfurth's Green.

Schweinfurth's Green. A brilliant sea‑green pigment.(18= 83m1)

Schweinfurt Green. (Paint.) A green obtained from copper and arsenic. It is a permanent and serviceable pigme= nt, and is considerably lighter in colour than Scheele's= green.(1891a1)