$H Trabea.

R. (lit. shaped like= a trabs or beam). A rich toga, either made entirely of purple cloth or decora= ted with horizontal stripes of that colour. The purple toga was an attribute = of the gods, and afterwards of t= he emperors; purple and white, or p= urple and saffron, of augurs; purple and white, of royalty (kings).(1883m1)

$H Trabs.

R. A beam; especiall= y a long beam supporting the joists of a ceiling.(1883m1)

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

An instrument consisting of two flat pieces of metal, the ends of which are made to approach one another by means of a screw. The tracer is dipped in ink and is used to draw lines of uniform thickness. S= ome tracers are used to draw straight lines; they are then provided with a handle, which can be unscrewed; or the tracers may be adapted to a compas= s, in which case they draw curved lines and arcs of circles. ILLUS. tracer(1891a1)

$H Tracery.

In architecture or decorative work, geometrical ornament, such as is inserted oil the upper parts of Gothic windows, in Alhambraic architecture, &c.(1883m1)=

(Arch.) A term applied to a kind of ornament found in the upper part of Gothic windows. It is geometric in pattern, and it has been applied to many objects of domestic use. The clock case in our cut is a somewhat florid instance of tracery applied to wood carving. ILLUS. tracery(1891a1)

$H Tracing.=

A mechanical reproduction of a drawing. Tracings are indispensable to an engraver if he wishes his print to be an exact reproduction of the original work. Sometimes also an artist will trace a first sketch when he finds in it certain qualities which he can only reproduce by this mechanical means. There are several methods of obtaining tracings. A simple method is to place the drawing, assuming it to be on paper, against a window pane, and to set over it a sheet of thin paper. T= he lines of the drawing will then appear through and if they are followed wi= th a pencil an exact reproduction will be obtained. A similar, but more conven= ient method is by the use of transparent paper, called tracing paper. The orig= inal drawing can then be laid on the table or on a drawing-board, and the lines followed with pen or pencil on the tracing paper. Another method is by the use of blackened paper, which is laid with its blackened face downwards o= n a sheet of white paper, the drawing being placed above the blackened paper.= By lightly pressing with a blunted steel or ivory style on the lines of the drawing, the black is transferred to the white paper below, and the drawi= ng is reproduced. This method, though extremely easy, has the disadvantage of spoiling the original drawing. The method generally employed by engravers= is as follows: A sheet of gelatine paper is laid upon the drawing which can = be seen through the gelatine; the engraver follows the lines of the drawing = with a sharp point which cuts into the gelatine, so that the lines of the draw= ing are represented by little canals in the gelatine paper. The whole sheet of gelatine is then dusted over with black powder which remains in the depressions when the plane surface is wiped. The tracing thus prepared is laid face downwards on the wood to be engraved, and either the hand or a burnisher passed over it, so as to transfer the lines of black powder to = the block. The engraver thus has on his block an inverse of the original draw= ing, so that consequently the print will face the same way as the original.(1891a1)

$H Tracing of Shadows.

A tracing the purpose of which is to determine the preci= se form of cast shadows and the luminous parts of a body having given the luminous point in relation to this body. ILLUS. tracingo(1891a1)

$H Tracing‑paper.

Tracing‑paper is made of = tissue‑paper soaked in oil or thin varnish.(1883m1)

$H Trade. Egypt

Foreign commerce was limited for the Egyptians by the fewness of their ports; but= a considerable amount of trade was carried on by caravan. Among the objects imported from various countries were vases from Cyprus and Crete, seats, chariots, coffers, wines from Syria, &c., birds and fish (dried fish = from Tyre), eye-salve from Syria, fruit, horses, and some domestic animals. The rareness of any trading expedition beyond Mediterranean waters is evidenc= ed by the extreme importance attached to the expedition to the "Land of Punt" (q.v.) organized a= nd sent out by Queen Hatshepsut, and afterwards recorded with many illustrat= ions on the walls of her temple at Dêr el Bahri. The objects desired and obtained were incense trees, incense, gold, ivory, precious woods (includ= ing ebony), eye-paint, dog-headed apes, long-tailed monkeys, greyhounds, and leopard skins. All these were obtained by barter, the Egyptian ships havi= ng brought daggers, battle-axes, and gay ornaments; though the record puts it more picturesquely, calling the objects obtained "tribute," and= the articles brought for exchange "an offering put there for the goddess Hathor." Of home trade we are well informed by the pictures on tomb walls. Since everything in daily use was made in the country, the class of craftsmen and tradesmen was very large. But trade seems never to have developed beyond the ordinary bazaar marketing business such as one sees = in any eastern town nowadays. There were no merchant princes, nor did any me= re tradesman win his way to notice, though one or two of the professions ena= bled a man to climb the ladder of rank. Each trade had its chief, its master mason, or master shoemaker, or master smith. According to a writer in the Anastasi Papyrus the lot of all craftsmen was a hard one, but the hardshi= ps he enumerates would seem to be merely the necessities of the conditions of their labour; for instance, the blacksmith's fingers are "as rugged = as the crocodile," the barber has to "run from street to street seeking custom," the mason is "exposed to all the winds" w= hile he builds, &c. The principal craftsmen represented on tomb walls are sculptors, painters, carpenters, masons, boat-builders, metal-workers, glass-blowers, potters, weavers, sandal-makers, and confectioners. There = was in early times, and later among the poorer classes, no recognized medium = of exchange, so that business was done by barter, and apparently, as at the present day, much haggling took place.(1902b1)

$H Trajan's Column or Trajan Column.

Trajan's Column, (Arch.) A column set up in the Forum by= the Emperor Trajan to celebrate his victory over the Dacians. Aesthetically i= t is not a supremely beautiful object, but it is very valuable as a record of costume and weapons, being decorated with reliefs representing the milita= ry life of the Romans. A cast of it may be seen at the South Kensington Museum.(1891a1)

Trajan Column, in Ro= me, the work of Apollodorus, A.D. 114, is 10 1/2 feet in diameter, and 127 feet h= igh, made of 34 blocks of white marble ‑ 23 in the shaft, 9 in the base, which is finely sculptured, and 2 in the capital and torus. The sculptures show about 2500 figures besides the horses, and represent the battles and sieges of the Dacian War. The column is a perfect handbook of the military costume of Rome and other countries of its perio= d. (Consult the work of Alfonso G. H= ispano, published at Rome, 1586, which contains 130 plates representing all the sculptures; or the m= ore modern work of Pietro Santo Barto= li, which contains beautiful engravings of all the reliefs.) A plaster cast of the column in two pieces is in the South Kensington Museum, with a handbook by J. H. Pollen on a desk near its base, with the aid of which it can be perfectly studied at leisure.(1883m1)

$H Trama.

Sp. The weft or woof; a kind o= f silk thread so called.(1883m1)

$H Tranquil.

A work, which is executed in a quiet, harmonious tonalit= y, may be termed tranquil. To produce a tranquil effect all striking notes i= n a picture must be softened, and its brilliant lights must be extinguished.(= 1891a1)

$H Transemaux.

This barbarous term was proposed by M. Salvetat, to deno= te transparent faience enamels, while he suggested opemaux to mean opaque enamels.(1891a1)

$H Transenna.

R. and Chr. A snare = for birds. It consisted of a net stretched over a circular framework. In Christian archaeology, the name was given to a marble lattice placed in t= he catacomb chapels to protect the relics.(1883m1)

$H Transept. Architecture

Arch. A transverse n= ave, passing in front of the choir, and crossing the longitudinal or central n= ave of a church. It is sometimes called the cross, and each of its parts to the right and left of the nave are called cross‑aisles.(1883m1)=

(Arch.) The smaller arms in the crossing of a Gothic chu= rch are called transepts, one of them being towards the south, the other towa= rds the north. Some churches have a double set of transepts. 2 ILLUS. transep1, transep2(1891a1)

&nbs= p; &= nbsp;

$H Transfluent. Heraldry

Her. Flowing through= .(1883m1)

$H Transition Periods of Architecture.

Transition Periods of Architecture. Generally speaking, all periods deserve this title, as the progressive change of the styles is continuous. Those with more precision= so described are, in English Architecture, three: ‑ from the NORMAN to the EA= RLY ENGLISH; and then to the DECORATED; and thirdly to the PERPENDICULAR, styles.(1883m1)

Transition. (Arch.) The term transition is applied to an architectural style which possess= es the characteristics of two styles, one of which is gradually giving way to the other. In English architecture, for instance, there is a period of transition, when the Norman style is giving way to the Early English, ano= ther when the Decorated style is taking the place of the Early English, and a third when the Perpendicular is supplanting the Decorated.(1891a1)

$H Transmuted. Heraldry

Her. Counter‑c= hanged.(1883m1)

$H Transom.

Arch. The horizontal= cross‑bar in a window.(1883m1)

(Arch.) A horizontal bar or mullion in a window. Transoms are sometimes quite plain, sometimes decorated with simple mouldings.(189= 1a1)

$H Transposed. Heraldry

Her. Reversed.(1883m= 1)

$H Transtrum.

R. (trans, across). In a general sense a horizontal beam. In the plural, transtra, the cross&#= 8209;benches of a ship occupied by the rowers.(1883m1)

$H Trap. Architecture

(Arch.) An opening in a floor or ceiling, which is closed either= by a grating or by a shutter.(1891a1)

$H Trapeso.

It. A weight for gol= d and silver; the twentieth part of an ounce.(1883m1)

$H Trapetum.

R. A mill for crushi= ng olives.(1883m1)

$H Trapezium.

A quadrilateral figure, in which two sides are parallel = and all the sides unequal. A solid figure is called a trapezohedron, when eac= h of its faces is a trapezium. A particular form of this solid figure has twen= ty‑four faces presenting the appearance of symmetrical quadrilateral figures. ILLUS. trapeziu(1891a1)<= /p>

$H Trapezophorum.

R. (= JD"B,.@‑N`D@<[=3Dtrapezo‑phoron])= . A richly‑carved leg for sideboards or sma= ll tables; sometimes called DELPHICA (q.v.).(1883m1)

$H Trasformati of Milan.

One of the Italian A= cademies who bore as a device a plane‑tree, and the verse from Virgil, "= ;et steriles platani malos gessere va= lentes," "the barren planes have borne good fruit " (cut out of a wild o= live‑tree and grafted in).(1883m1)

$H Travagliati.

One of the Italian l= iterary academies, whose device was a sieve (vaglio) with the motto "donec purum<= /i>" (until clean).(1883m1)

$H Traversed. Heraldry

Her. Facing to the sinister.(1883m1)

$H Travertine, Travertino.

Travertine, Traverti= no, It. A compact kind of TUFA stone, used in architecture; part of St. Peter's a= nd the Colosseum of Rome are built of this stone. (See TUFA.) It is a stone = of a white or yellowish tint, and was used by the ancient painters to give body to lakes.(1883m1)

Travertino. (Arch.) A kind of limestone, which was used = by the Romans for building purposes and highly prized by them. It is a very = hard stone, is white when freshly cut, and tones down to a yellow with age and exposure. It was quarried by the ancient Romans at Tibur, whence it was called Lapis Tiburt= inus, Travertino being its modern name.(1891a1)

$H Tread. Architecture

(Arch.) The horizontal part of a step, upon which the fo= ot rests.(1891a1)

$H Treasury. Architecture

(Arch.) A small isolated building, chapel, or sacristy, belonging to a Gothic church, in which relics and sacred vessels made of = the precious metals were kept.(1891a1)

$H Treat. Painting

(Paint.) To trea= t, in painting, is to express or represent in a certain way. For instance, we speak of a subject treated with spirit, a figure badly treated, a group h= appily treated.(1891a1)

$H Trebuchet.

Fr. Med. A mechanical contriva= nce for projecting stones and darts; a kind of enormous cross‑bow or sling.(1883m1)

$H Tredyl, O.E. (See GRYSE.) (1883m1)

$H Trees, Sacred. Egypt

So important a part do certain trees play in the religious cult, that some Egyptologists have accepted tree worship as a f= act. We read of a very ancient sacred tree in the "great hall" at Heliopolis, on t= he leaves of which Thoth and Safekh write the names of the monarch to secure= to him immortality; but here the tree is rather a symbol than an object of worship. The nearest approach to actual worship was under the Ptolemies, = when every temple seems to have had its sacred tree. Ten kinds of trees are mentioned. (See PERSEA TREE, SYCOMORE and FLORA).(1902b1)

$H Treflée, Her. (See BOTONN&Eac= ute;E.) (1883m1)

$H Trefoil. Architecture

Arch. An ornament of three foils peculiar to the Rom= ano‑Byzantine and pointed styles. This ornament occurs in bands or string‑courses= , and also forms entablatured folia= ge. A synonym for it is tiercefoil.= In Heraldry, a leaf of three conjoined foils generally borne slipped. (Fig. 660.) Fig. 6= 60. Trefoil slipped.(1883m1)

<= /o:p>

(Arch.) A system of ornament in vogue in the Gothic styl= e, which consisted of three foils or portions of a circle. Some trefoils are simple, some are composite, that is to say, ot= her trefoils are inscribed within them. It also occurs as a charge in heraldr= y; in this case it may be described as the three‑leaved grass, having a small stalk. Our cut may be thus described: Argent, three trefoils, gules, one over two. 2 ILLUS.<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'> trefoil1, trefoil2(1891a1)

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

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

Open lattice‑w= ork.(1883m1)

(Arch.) A garden decoration consisting of vines or creep= ers, trailing over walls or vaults. In the 12th and following centuries vaults were built in gardens and covered with trellis‑work. From the 16th century onwards the principle of = trellis was applied to architecture, and at that period porticoes, covered with richly decorated lattice‑work, to which the term trellis was applie= d, were quite common. 2 ILLUS. trellis1, trellis2(1891a1)<= /p>

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

$H Trenchers.

(Fr. tranchoirs). = Originally thick slices of bread on which the meat was served, instead of plates; 13th century.(1883m1)

$H Trental.

O.E. Chr. for Trigin= tale. Thirty masses for the dead.(1883m1)

$H Tresse. Architecture

(Arch.) A system of ornament, either flat or convex. It consists= of bandelettes (q.v.) intertwined. In the romanesque style tori (q.v.) are frequently decorated with tresses. ILLUS. tresse<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'>(1891a1)

$H Tresson.

Fr. A net for the ha= ir, worn by ladies in the Middle Ages. (See CALANTICA.)(1883m1)<= /p>

$H Tressure. Heraldry

Tressure. (Her.) A French heraldic term, denoting a narr= ow orle (q.v.). The tressure is frequently met with in coats‑of‑arms,= and may be either simple or double, fleuronnée or fleurdelisée.(1891a1)

Tressure, Her. A var= iety of the ORLE, generally set round with fleurs‑de‑lys. A str= iking example is to be seen in the Royal Shield of Scotland, now displayed in t= he second quarter of the Royal Arms, blazoned as ‑ Or, within a double Tressure flory; counterflory, a lion rampant guardant.(1883m1)

$H Trevat.

A weaver's cutting instrument for severing the pile‑threads of velvet.(1883m1)