$H Scie d'atelier.

This is a piece of French artistic slang, denoting a mys= tic saying, a song, the refrain of which is purposely monotonous and is endle= ssly repeated. The object of this repetition is to annoy and torment all those= who hear it. For a scie to be successful it must not only attain this end, but must even go beyond it. In some ateliers the scie ta= kes the form of a traditional practical joke, unpleasant and even dangerous. Such, for instance, is the bucket of water, suspended over the entrance of the studio, which empties its contents on the head of the novice or even the master himself. But there are also scies which are spontaneous and improvised, full of allusion to passing events, in which that class of students, already described under the term rapin (q.v.), finds material upon which to exercise its wit.(1891a1)

$H Scimitar. (See SCYMETAR.)= (1883m1)

$H Scimpodium.

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'>F64:B`*4@<[=3Dskimpodion], li= t. foot‑prop). A couch or long chair for an invalid.(1883m1)

$H Scintillant.<= span style=3D'mso-spacerun:yes'> Heraldry

Her. Emitting sparks= . (See Fig 342.)(1883m1)

<= /o:p>

$H Sciography.

A term applied by the ancients to the art of representing objects, due regard being paid to their li= ght and shade. It also denotes a geometrical drawing, showing the section and= the interior of a building.(1891a1)

$H Sciolist.

(from = F64ÎH[=3Dskios], a shado= w). A man of superficial acquirements, who sees only the shadows of things.(1883m1)

$H Scioptics.

(F64[=3Dskia], a shadow= ). The branch of the science of optics applied in the construction of the camera obscura<= /span>.(1883m1)

$H Sciothericon.=

(F64@20D46`<[=3Dskiotherikon]).= A sun‑dial.(1883m1)

$H Scipio. An official sta= ff. (See SCEPTRE.) (1883m1)

$H Scirophoria.<= span style=3D'mso-spacerun:yes'> Greece

Athenian festivals h= eld in the month Scirophorion or June.(1883m1)<= /o:p>

$H Scirpea.

R. A waggon formed of basketwork of plaited rushes (scirpus), and used princi= pally for agricultural operations.(1883m1)

$H Scobina.

R. (scabo, to scrape). A rasp= for wood; distinct from lima, a= file for metals.(1883m1)

$H Scobs.

Shreds of ivory, met= als, &c., turned off the lathe or rasp, &c.(1883m1)<= /p>

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

Sconces. Brackets pr= ojecting from the wall, supporting candlesticks: originated in the 15th century, a= nd from that date form an important branch of metallurgical art‑work.(= 1883m1)

Sconce. An ornamental candlestick fixed to the wall by m= eans of a bracket. Sconces have assumed various forms, and have afforded plent= y of scope for the decorative artist. Many of them have plates of brass behind them, which are sometimes incised, sometimes embossed, with admirable designs, and serve as reflectors. ILLUS. sconce(1891a1)

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$H Scopae.

R. A broom made of s= mall twigs of wood. This term survives in the Languedoc escoube.(1883m1)

$H Scopulae.

R. A little broom.(1= 883m1)

$H Scorpers.

In wood engraving, t= ools used for cutting away large spaces after outlining or engraving, so as to leave only the drawing in relief.(1883m1)

$H Scorpio.

Gr. and R. (lit. a scorpion). (1) A kind of cross‑bow. (2) A pyramid of stones raised = for a landmark in country places.(1883m1)

$H Scorpion. Egypt

This insect must have been fairly common in ancient times, for numbers of magi= cal formulae have been found for protection from its sting. It was the emblem= of the goddess Selk, who is represented with the scorpion on her head.(1902b1)

$H Scotia. Architecture

(Arch.) A moulding of convex outline, consisting of two portions of a curve. It is also known by the name of "hollow round," while sometimes it is termed a trochilus. It derives its= name from the strongly marked shadow which it takes (= F= 6= `= J= 4= @= H[=3Dskotios], dark.) ILLUS. scotia(1891a1)

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Scotia or Trochilus, Arch= . (F6@J\"[=3Dskotia], JD@P\8@H[=3Dtrochilos]). A = concave moulding employed especially in the decoration of t= he bases of columns or pilasters, between the fillets of the tori. In plain bases the scotiae are smooth, and in decorated bases they are ornamented with sculptures, as shown in Fig. 605.

Fig. 605. Scotia or <= span class=3DSpellE>Trochilus.(1= 883m1)

$H Scourge. <= span style=3D'mso-spacerun:yes'> (See FLAGELLUM = and FLAGRUM.) (1883m1)

$H Scraper.=

Scraper. An engraver= 's tool for removing BURRS (q.v.).(1883m1)

Scraper. (1) (Engrav.) There= are several tools used by engravers which differ slightly from one another, b= ut are all known as scrapers. The mezzotint engraver uses the scrap= er to remove the grain from those portions of his plate which he desires to print white, his method of work being to leave the grain to obtain his shades and to scrape the plate to obtain his lights. He works i= n the same way as a draughtsman in crayon, who gets his light portions by rubbi= ng the surface with breadcrumbs. Another kind of scraper consists of a quadrangular blade, the edges of which = are very carefully sharpened. It is used to remove the r= oughnesses produced upon transparent paper in making a tracing and also to get rid of the burs or ridges, which res= ult from the use of the dry point upon a copper‑plate. The latter is the more important use of this square scraper, and its management by the engr= aver is a matter of considerable delicacy. If it is not handled properly there= is a danger of its scratching the plate as well as removing the bur. Then ag= ain by scraping away hatchings different effects of modelling may be obtained, and the strength of the tones may be increased or diminished. Wood engrav= ers use a scraper to polish their wood‑block before putting in the distances and the luminous parts, as well as another kind of scraper, the= angles of which are almost rounded. In water‑colour drawing a scraper is used to put in the li= ghts and considerable skill may be displayed in its handling. Many of Turner's water‑colour drawings were made on paper stained grey; he was thus enabled to wash or scrape out his lights. 3 ILLUS. scrape1a, scrape1b, scrape1c

&nbs= p; &= nbsp; &nbs= p; &= nbsp; <= /o:p>

(2) (Constr.) In rough‑= ;casting buildings an instrument, called a scraper, is used. As will be seen from = our cuts it assumes various forms. The triangular scraper is especially usefu= l to painters, as it enables them to reach the ground of hollow mouldings. ILLUS. scrape2

<= /o:p>

(3) A tool of very variable form, used to scrape a surfa= ce. Stone cutters use a scraper to efface the marks of a toothed hammer. Sculptors, on the other hand, use scrapers of a particular form to cover certain portions of their work with irregular striae. 3 ILLUS. scrape3a, scrape3b, scrape3c(1891a1)

&nbs= p; &nbs= p; &nbs= p; &= nbsp; <= /o:p>

$H Screen.

Screen, Chr. An open barrier of woodwork or stone enclosing the choir or chancel of a church, chapel, or tomb; generally highly enriched by carving and gilding, and the lower panels decorated with painting. (See ROOD‑LOFT.)(1883= m1)

Screen. (1) (Arch.) A pierced enclosure, which separates= the nave of a church from the choir, or shuts off side‑chapels from the nave. (2.) A piece of furniture, generally consisting of a panel of stuff embroidered or decorated with paintings, which is stretched on a frame and serves to ward off the light= and heat of a fire. Some tapestry screens are of great beauty. Screens from <= st1:country-region w:st=3D"on">China or Japan, either lacquered or incrusted, are of great value and are eagerly = sought for by collectors. They sometimes consist of several leaves, placed vertically and connected with one another by hinges. Screens of this kind also are decorated with paintings or richly embroidered stuffs. ILLUS. screen2(1891a1)

<= /o:p>

$H Screw‑Clamp.

A contrivance of wood or iron, in the shape of a rectangle open on one of its sides. It is provided with a screw, as sh= own in the cut. Cabinet makers use a screw‑clamp to hold fast the mater= ials which they are joining. It is also employed by photographers to fix their camera to the table. ILLUS. screwcla(1891a1)

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$H Scriber.= Engraving

(Engrav.) An instrument used= by wood engravers to hollow out the lines surrounding a vignette or to serve= as a guide in the drawing of horizontal or perpendicular lines. The point of= the scriber, which indicates the guiding marks, ought to be slightly blunted = so as not to leave any marks on the wood. ILLUS. scriber(1891a1)

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$H Scribes. Egypt

To be a scribe was the great desire of the ambitious Egyptian youth, almost = any rank could be attained by a clever member of the profession. The most frequently-recurring phrase in the scholars' exercises of the New Empire = was, "One has only to be a scribe, for the scribe takes the lead of all,&= quot; and to a certain extent such an one was more h= is own master than the ordinary man, for he was exempt from military service and forced labour. There were numberless grades in the profession, from the m= ere registrar of his employer's cattle to the literary man like Pentaur (q.= v.). The education of a scribe was not obtained at any public institution. Aft= er having learnt the rudiments of reading and writing, probably in a little school like the modern Arab "Kuttab,&quo= t; he was taken into his father's office or apprenticed to some other scribe. T= hen if he improved, if his handwriting became fine and neat, if he made himse= lf indispensable to his master, he might become rich and influential, rising from one office to another, from being head of his department to be gover= nor of a village, and then of more villages, of towns, or of names, until he became almost second to the Pharaoh himself. Such was the history of the scribe Amten, who lived under King Sneferu of the IVth Dyn= asty, and whose tomb, discovered near Abusîr,= was removed to Berlin.

Scribes figure on every tomb wall, for the Egyptians seem to have = been extremely methodical in every detail of management, and to have been slav= es to red tape. One man writes to another on a matter of business, and says, "I write this to you that it may serve as a witness between us, and = you must keep this letter, that in future it may serve as a witness." Thoth was the god specially prayed to by scribes, he being the inventor of writing.

The scribes represented the culture and intelligence of the kingdo= m. In the processions of the gods the "chief of the scribes" took precedence of the high priest of Amen. The "royal scribe" appea= rs to have been a most important functionary, and princes of the XVIIIth and XIXth Dynas= ties have been found to bear this title. Women were admitted to the rank of scribes.(1902b1)

$H Scrinium, Scrinia.

Scrinium. A case or box, genera= lly circular in form, which was used by the ancients for holding books, rolls= of parchment, &c. Its form will be readily understood from our cut. ILLUS. scri= nium(1891a1)

<= /o:p>

Scrinium, Scrinia, Chr. and R. (1) Chr. A = chest which held chiefly liturgical writings; according to the writings they contained, these cases were variously distinguished as scrinia epistolarum, scrinia dispositionum, scrinia libellorum, scrinia memoriae, scrinia sacra, &c. Scrinia were generally kept in the diaconicum or scevophylacium= .

(2) Cylindrical boxe= s or cases used for carrying volumes (i.e. rolls) and papers (cf. HANAPER).

(3) Scrinia unguentaria were used to contain phials of oils and perfumes, &c., for the toilette.(1883m1)

$H Scriptorium.

Chr. An apartment in large monasteries where manus= cripts were transcribed.(1883m1)

$H Scripulum. (See SCRUPULUM.= ) (1883m1)

$H Scroll. Architecture

(Arch.) A system of ornament consisting of spiral volute= s. Ionic and Corinthian capitals, as well as consoles at all epochs, are dec= or‑" decorated with scrolls. The rococo style is nothing but the result of carrying to its utmost limits the application of scrolls to decoration. T= he supports of old signboards and various kinds of ancient iron work present admirable examples of scrolls. 2 ILLUS. scroll1, scroll2(1891a1)

&nbs= p; &= nbsp; &nbs= p; <= /o:p>

$H Scrupulum.

R. (scrupus, lit. a small sto= ne). A scruple, the smallest Roman gold coin; it weighed a third of the denarius aureus<= /i>. (See DENARIUS.)(1883m1)

$H Scrutoire.

Fr. An old way of sp= elling, escritoire.(1883m1)

$H Scudo.

It. A silver coin wo= rth about 4s. In Rome the gold sc= udo is worth 65s.(1883m1)

$H Sculp. Engraving

(Engrav.) An abbreviation of= the word sculpsi= t, which often follows the name of the engraver on engraved plates; e.g., Ma= rc Antonio sculp.(1891a1)

$H Sculponeae.

R. A common kind of = boot, with a wooden sole; it was worn by the familia rustica, or slaves who worked in= the country.(1883m1)

$H Sculpture.

The art of reproducing objects in relief or in the round= , in a hard material which can be cut with a chisel. To execute a model in cla= y is the process of modelling, but to translate the model into bronze or marble is, properly speaking, the aim of sculpture. However, as the artistic ski= ll of the sculptor is almost entirely displayed in the execution of the clay model, the art of modelling in clay is generally described as sculpture.(1891a1)

Sculpture (from sculpo,= to carve) includes all carved work, in wood, ivory, stone, marble, metal, or other material; and also those works formed in a softer material not requiring carving, such as wax or clay. It includes STATUARY, carved ornament, and GLYPTICS or incised gems and cameos. From the practice of preparing the model in clay, sculpture is also called the plastic art. A most remarkable incident in the history of= sculpture, is the fact that the most ancient specime= ns are carved of the hardest stones, such as basalt, granite, and porphyry; and = that this work was done at a period antecedent to the introduction of steel to= ols. (Consult R= edford's Ancient Sculpture.)(1883m1)

--- $H Sculpture, English.

The English sculpture belonging to Saxon and Norman times was very rude and primitive. An idea of its style may be obtained from a = bas‑relief of the 11th century, now preserved in Chichester Cathedral. To the 13th century belong the admirable statues, which decorate the western façade of Wells Cathedral, and which are among the finest specimen= s of mediaeval sculpture. In the 14th or 15th centuries many excellent effigies were produced in E= ngland. In the 16th century Torrigiano came to England from Florence and modelled the figures on = Henry VII.'s tomb. Nicholas Stone and Grinling Gibbons are the most notable English sculptors of the 17th century, but t= he latter was better known as a carver of wood than of marble. The English sculptors of the 18th century had little merit, they cultivated a pseudo‑<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'>classic st= yle and not unfrequently clothed their models in toga= s and wigs. The best of them were Nollekens, Bacon,= and Flaxman. In the earlier half of the present century= no advance was made in English sculpture. Little praise can be given to Baily, Chantrey, Westmacott, or Wyatt. During the last thirty years, however, an immense improvement has taken place. Alfred Stevens, the auth= or of the Wellington Monument, was a s= culptor of genius, while there are still among us, besides Sir Frederick Leighton, whose "Athlete struggling with a Python" is a work of conspicuo= us merit, such distinguished sculptors as Hamo <= span class=3DSpellE>Thornycroft, Alfred Gilbert, and Onslow Ford.(1891a1)

--- $H Sculpture, French. $G

The mediaeval sculpture to be seen on the façades= of French churches is of the greatest interest and in it perhaps Gothic sculpture reached its highest point of excellence. At the Renaissance, Fr= ench art fell under Italian influence, and the most celebrated French sculptor= of the 16th century was Jean Goujon, who got his inspiration from Cellini. The 17th century se= ems to have produced no great sculptor in France. In the 18th century= the most conspicuous French sculptor was J.‑A. Hou= don, while Chaudet and Bosio<= /span> were his younger contemporaries. In the early part of the present century flourished Rude, Duret, Stuart, and Carpeaux. Technically speaking the French sculptors= of to‑day are unsurpassed, some modern works of sculpture, such as those by Rodin, show a knowledge and power which have rarely= been equalled.(1891a1)

--- $H Sculpture, German.

In the Middle Ages sculpture was not practised with the success with which it was pursued in France. In the 14th century, however, many fine works were produced. The 15th century was the golden a= ge of sculpture in Ge= rmany. Many admirable specimens of wood‑carving were then produced, some of which may be ascribed to Wohlgemuth and his g= reat pupil, Albert Dürer. But the most brilli= ant name in the history of German sculpture is undoubtedly Vischer. The family of Vischer were at work in the 15t= h and 16th centuries and produced many masterpieces. Their best work is to be s= een at Nuremberg, Augeburg, and Lübec= k. Since the 16th century German sculpture has declined. During the last hun= dred years many large works have been executed, in all of which the influence = of the classic style is obvious, but which are for the most part without mer= it. Schadow, Kiss, and Schwanthale= r are perhaps the best known of the modern German sculptors, but they have = no great claim to consideration.(1891a1)

--- $H Sculpture, Greek.

Sculpture is the peculiar glory of Greece. It flourished as an= art among the Greeks for many centuries, and at Athens it was carried to its highest = point of excellence. The earliest sculpture of the Greeks. = such as the so‑called Niobe at Sipylus, and the Lion Gates at Mycena= e, was produced under oriental influence, but in very early times the Greek sculptors developed a characteristic style. To the 7th and 6th centuries = belong the Apollo of Tenea, and the well‑known metopes of Selinus, but it is not until we approach the beginning of the 5th century that we leave the age of experiment behind. Then flourished = Callon and Onatas, the authors of the Aegina pediment, Myron, whose Discobolus is familiar to all, Ageladas, the Master of Phidia= s, and others. The great Athenian= School was at its zenith in the 5th century, = for then flourished Phidias, the greatest sculpto= r of all time, some of whose works may be seen at the British Museum. He it was= who decorated the Temple of Athene, on the Ac= ropolis at Athens, and made the gold and ivory statue of the goddess, which stood in the cella. = He also worked at Olympia, where the gold and ivory Zeus was from his hand. The most celebrated of h= is followers were Paeonius and Alcamenes, while Polycletus, the chief of the Argive= School, was his contemporary and rival. In the following century there was a second outbu= rst of artistic energy, which was in some measure due to the encouragement of Alexander the Great. The New Attic School lacked the severity and grandeur which were the noblest characteristics of its predecessor, yet Scopas and Praxiteles both produced works of great beauty and elegance. The head of the Peloponnesian School at this period was Lysippus, who is chiefly remembered as the Court sc= ulptor of Alexander. Then came the period of ruin and decay, and at Rhodes and <= span class=3DSpellE>Pergamum Greek sculpture made its last effort befor= e Rome won her supremacy.(1891a1)

--- $H Sculpture, Italian.

Before the 13th century, Italy seems to have had no = school of sculpture. In that and the following century, however, much excellent = work was done in Italy<= /st1:place>, chiefly in the decoration of churches and shrines. It is the 15th century that is the golden age of Italian sculpture and Florence is the city in which the bes= t work was produced. There flourished Donatello, Luc= a della Robbia, Vittore Pisanello, Verrocchio (the sculptor of the magnificent Colleoni) and Ghiberti,= to whom we owe the great baptistery gates. In the 15th century flourished Michael Angelo, the greatest sculptor of modern times, whose<= /span> David, whose Moses, are yet the wonder of the world. Then there was Cellini, who was more renowned as a goldsmith than = as a sculptor, Giovanni da Bologna and Antonio Begarelli. Bernini is the greatest Italian sculptor of t= he 17th, Canova represents = the decadence of the 18th century. The Italian sculpture of the present time = is for the most part worthless. Vulgarity and realism of an offensive kind a= re carried to excess by men who have ever before them such models as Donatello and Michael Angelo.(1891a1)

--- $H Sculpture, Roman.

The Romans developed no school of sculpture of their own. Until, after the Conquest of Greece, Graeculi esurientes thronged the streets of Rome, the art of sculpture was not known in Latium. And when it became popular, it was only practised by Greeks, who brought = the noble traditions of their country's art into the strange land. Some of th= em contented themselves with copying well‑known masterpieces, and it i= s to their copies that we owe much of our knowledge of Greek sculpture; others produced original works, in which the Greek convention was piously observ= ed. They were not distinguished men, and the names of most of them are forgot= ten. Apollonius, Kleomenes, A= gasias, and Pasiteles are the best known of the Greek= s who formed a school of sculpture in Rome.(1891a1)

$H Sculpturesque.

Figures, attitudes, or scenes which, from their style and the beauty of their lines, lend themselves easily to reproduction in sculpture, are said to be sculpturesque.(1891= a1)

$H Scumbling.

The process of going= over a painting with a nearly dry brush, to soften and blend the tints.(1883m1)<= o:p>

(Paint.) When the tints in a picture are too brilliant, = they may be softened by blending them with a neutral tint, this neutral tint b= eing laid on with a nearly dry brush. This process is called scumbling. In black and white drawing the hard outlines may be = scumbled by being rubbed with the blunt end of the chalk or the stump.(1891a1)

$H Scutage.

O.E. (from scutum,= a shield). A tax upon lands held by knight‑service.(1883m1)

$H Scutale.

R. (from scutum, i.e. shield‑= ;shaped). The hollow in the thongs of a sling in which the missile is laid.(1883m1)=

$H Scutarius.

Med. An esquire or <= span class=3DSpellE>shieldbearer.(1883m1)

$H Scutcheon.

Scutcheon, for ESCUTCHEON (q.v.). (1883m1)

(Her.) This is a name sometimes given to a cartouche or tablet prepared for the reception of coats‑of‑arms or of some decorative design. ILLUS. scutcheo(1891a1)

<= /o:p>

$H Scutella. Diminutive of S= CUTRA (q.v.). (1883m1)

$H Scutica.

Gr. and R. A whip ma= de with a leather thong (F6LJ46`H[=3Dskutikos]).(188= 3m1)

$H Scutiform.

Shaped like a shield.(1883m1)

$H Scutra.

R. (from scutum, i.e. shield‑= ;shaped). Diminutive s= cutella. A square wooden tray for plates, dishes, and cups.(1883m1)

$H Scutum.

Scutum, R. and Egyp. The large oblong shield of the Roman infantry, in contradistinction to clipeus= , a round shield. (See SHIELDS.)(1883m1)

Scutum. An oblong shield carried by Roman foot‑sol= diers. It was made of pieces of board covered with hide and then with cloth. The soldiers of each legion had shields of a distinctive colour and ornamented with their own device. Our cut is taken from Trajan'= s column and the shield which it represents is decorated with the thunderbo= lt. ILLUS. scut= um(1891a1)

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$H Scymetar or Scymitar.

Scymetar. A sword of oriental origin, with a curved bla= de, very sharp.(1883m1)

Scymitar. A sword with a curved blade, used by eastern nations. ILLUS. scymitar(1891a1)

<= /o:p>

$H Scyphus.

Scyphus, Gr. and R. (F6bN@H[=3Dskuphos]). A dr= inking‑cup of wood or silver, of smaller capacity than the BROMIAS (q.v.). It was sa= cred to Hercules.(1883m1)

Scyphus. (Pot.) A vase used by= the Greeks as a drinking‑vessel. It was two‑handled and had no fo= ot, while its diameter decreased towards the base. ILLUS. scyphus<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'>(1891a1)

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$H Scythe. Heraldry

(Her.) A scythe, with or without a handle, is sometimes borne as a common charge in heraldry. If the handle appears the scythe is then said to be helved; for example, a scythe gules, helved s= able. This charge is often found in German coats‑of‑arms. ILLUS. scythe(1891a1)

<= /o:p>