Recorders.A musical instrument mentioned by Shakspeare. It resembled a very large clarionet. Milton also speaks of“the Dorian moodOf flutes andsoft recorders.”(Paradise Lost, i. 550.)
Recorders.A musical instrument mentioned by Shakspeare. It resembled a very large clarionet. Milton also speaks of
“the Dorian moodOf flutes andsoft recorders.”(Paradise Lost, i. 550.)
“the Dorian moodOf flutes andsoft recorders.”(Paradise Lost, i. 550.)
“the Dorian moodOf flutes andsoft recorders.”(Paradise Lost, i. 550.)
“the Dorian mood
Of flutes andsoft recorders.”
(Paradise Lost, i. 550.)
Recta, R. A straight tunic, made out of a single piece, which took the form of the body; it hung from the neck, and fell down as far as the feet.
Rectilinearfigures are those composed entirely of straight orrightlines.
Red.One of the three primary colours, producing withYELLOW,orange, and withBLUE,violet. The principal red pigments arecarmine,vermilion,chrome red,scarlet lake,madder lake,light red,burnt sienna, foryellowreds; andVenetian red,Indian red,crimson lake, forbluereds. Red, in Christian art, represented by the ruby, signified fire, divine love, the Holy Spirit, heat or the creative power, and royalty. In a bad sense, red signified blood, war, hatred, and punishment. Red and black combined were the colours of purgatory and the devil. (SeeRealgar,Indigo.)
Red ChalkorReddleis a mixture of clay and red ironOCHRE, used as a crayon in drawing. (SeeOchre.)
Red Lake.(SeeCarmine.)
Red Lead.A pigment which mixes badly with other pigments. (SeeMinium.)
Red OchreincludesIndian red,scarlet ochre,Indian ochre,reddle, &c.
Red Orpiment.(SeeRealgar.)
Redan, the simplest kind of work in field fortification, generally consists of a parapet of earth, divided on the plan into two faces, which make with one another a salient angle, or one whose vertex is towards the enemy.
Reddle.(SeeRed Chalk.)
Redimiculum, R. (redimio, to bind round). A long string or ribbon attached to any kind of head-dress.
Redoubtis a general name for nearly every kind of work in the class of field fortifications.
Redshank, Scotch. A Highlander wearing buskins of red-deer skin, with the hair outwards.
Reduction.In Art, a copy on a smaller scale. The work is done mechanically by a process of subdivision of the original into segments or squares.
Reekie, Scotch. Smoky; henceAuld Reekie, the city of Edinburgh.
Reeking-hook, O. E. A pot-hook hung in the chimney, to suspend vessels over an open fire. (SeeGalows.)
Re-entering, in Engraving, is the sharpening or deepening with a graver the lines insufficientlybitten inby the acid.
Refectory, Mod. (reficio, to refresh). A hall in which the monks of a monastery assembled to take their meals; one of the most important rooms of the establishment; it was often divided into two naves by a row of columns called the spine (spina), which received the spring of the vaultings forming the roof of the refectory.
Reflected Lightsthrown by an illuminated surface into the shadows opposed to it, modify theLocal Colourof every object that we observe in nature, and should accordingly be made to do so in painting.
Reflexed,Reflected, Her. Curved and carried backwards.
Refractionis the diversion of a ray of light which occurs when it falls obliquely on the surface of a medium differing in density from that through which it had previously moved. The differently-coloured rays have different degrees of refrangibility. Refraction is the cause of the phenomena of themirage,Fata Morgana, &c., and presents to us the light of the sun before his actual emergence above the horizon.
Fig. 579. Regals or Portable Organ.
Fig. 579. Regals or Portable Organ.
Fig. 579. Regals or Portable Organ.
RegalorRegals, O. E. (1) A small portable organ, with single or double sets of pipes (the attribute of St. Cecilia, and of saints and angels of the heavenly choir). The illustration (Fig.579) of an angel playing the regals, is taken from an ancient MS. (2) A kind of harmonica, with sonorous slabs of wood.
Fig. 580. Regalia. Grand Duke of Tuscany in state costume, with crown and sceptre, &c.
Fig. 580. Regalia. Grand Duke of Tuscany in state costume, with crown and sceptre, &c.
Fig. 580. Regalia. Grand Duke of Tuscany in state costume, with crown and sceptre, &c.
Regalia.The ensigns of royalty. The regalia of England are the crown, sceptre, verge or rod with the dove, St. Edward’s staff, the orb or mound, the sword of mercy called Curtana, the two swords of spiritual and temporal justice, the ring of alliance with the kingdom, the armillæ or bracelets, the spurs of chivalry, and some royal vestments; and are kept in the Jewel Office in the Tower of London. The Scottish insignia, a crown, a sceptre, and a sword of state, are kept in the Crown-room at Edinburgh. The illustration shows the regalia and state vestments of the Grand Duke of Tuscany, in the 16th century. (Fig.580.)
Regifugium, R. (lit. flight of the king). An annual festival held on the sixth day of the calends of March (24th of February), in commemoration of the flight of Tarquin and the establishment of the Roman republic.
Regioles, Fr. Chr. Small doors in theconfessioormartyriumof an altar, containing relics of a saint or martyr. The faithful used to introduce handkerchiefs by these doors, that they might consecrate them by contact with the relics.
RegratingorSkinning, in Masonry, is the process of scraping or hammering off the outer surface of old stones to make them look white and new; it has been greatly abused in the restoration of ancient buildings.
Reguardant, Her. Turning the head and looking back; emblematic of circumspection and prudence.
Regula, R. A straight rule used by artisans.
Regulares, Chr. Horizontalrodsof wood or metal in churches for the suspension of veils or curtains. These were often made of gold or silver, with a row of images on the upper part.
Regulus(in Greekβασιλίσκος) is the name given by ancient astronomers to a line drawn from the polar star, between the pointers, &c., to the bright star calledαLeonis or Cor Leonis (the lion’s heart).
Reindeer, Her. A hart with double antlers, one pair erect, the other drooping.
Reisner-work.A corrupt spelling of the name of Riesener, a celebrated worker in marquetry in France in the 18th century.
“Riesener used tulip, rosewood, holly, maple, laburnum, purple-wood, &c. Wreaths and bunches of flowers, exquisitely worked and boldly designed, form centres of his marquetry panels, which are often plain surfaces of one wood. On the sides, in borders and compartments, we find diaper patterns in three or four quiet colours.” (SeePollen,Ancient and Modern Furniture, &c.)
Relief(It.rilievo). Sculpture projecting—Alto-relievo, more than half;Mezzo-relievo, exactly half;Basso-relievo, less than half. (See alsoRondo Bosso,Intaglio-Relievato,Stacciato.)
Reliquary, Chr. A portable shrine or casket made to contain relics. A reliquary made to be worn round the neck was calledencolpium(ἐν κόλπῳ, in the bosom),phylacterium, &c.; one to be carried processionally,feretrum. (SeeFeretory, Fig.307.)
Remarque, Fr. A slight sketch on the margin beneath an etching or engraving, to denote the earliest proof impressions.
Removed, Her. Out of its proper position.
Remuria, R. A Roman festival in honour of Remus, held on the third of the ides of May (13th of May) on the Palatine mount, on the spot where Remus had taken the auspices, and where he was buried.
Renaissance(lit. new-birth or revival). The term is popularly applied to the gradual return to classical principles in Art in the 13th and 14th centuries. The Italian renaissance, begun byNiccola Pisanoin architecture and sculpture, and byGiottoin 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.
Rengue, Sp. A kind of gauze worn on official robes in Spain.
RenoandRheno, R. A very short cloak, often made of skins, peculiar to the Gauls and Germans, and adopted by the Roman soldiery.
Repagula, R. (lit. fastening back). A double fastening to a door; of two bolts (pessuli), one of which was shot towards the right, and the other to the left.
Replica.A duplicate of a picture, done by the same painter.
Repose.(SeeRiposo.)
Repositorium, R. (repono, to lay down). A side-board 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.
Repoussé, Fr. Metal-work hammered out from behind into ornaments inrelief.
Requiem, Chr. The RomanMissa pro Defunctis, or service for the dead, beginning with the anthem “Requiem æternam dona eis, Domine.”
Rerebrace, O. E. (for the Frencharrière bras). Armour for the upper part of the arm.
Rerebrake, O. E. A pommel at the back of a saddle to support the horseman under the shock of a tilting-bout. (SeeMeyrick, vol. ii. p. 137.)
Reredos, Chr. (1) The wall or screen at the back of an altar. In the primitive churches, in which the bishop’s seat was at the back of the altar, there was noreredos. 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) TheRood-screenwas sometimes so called. (3) The open hearth was so called. Hollinshed relates that, before the invention of chimneys, “each man made his fire against areredossein the hall, where he dined and dressed his meat.”
Rere-supper(Fr.arrière souper). The last meal taken in the day; 15th century.
Resins.(SeeAmber,Copal,Damara,Mastic, &c.)
Ressaunt, O. E. Arch. An obsolete term applied to members of architecture inflected or curved like anOgeemoulding.
Rest.In Music, a character denoting silence for a length denoted by the character used to express the rest, i. e.semibreve,minim,crotchet,quaver, &c.
Restoration.In Architecture, a drawing of an ancient building in its original design.
Retable(Fr.), Chr. (SeeReredos.)
ReteandRetis, R. A net.
Retiarius.A gladiator whose only arms were a trident and net; with the latter he tried to embarrass the adversary by casting it over his head, and, having done so, to wound him with the trident; failing in their throw, their only resource was to run round the arena preparing the net for a second attempt. They fought generally with the Mirmillones, and had no helmet nor other protective armour excepting for the left arm. (SeeGladiators.)
Fig. 581. Venetian Reticella Lace.
Fig. 581. Venetian Reticella Lace.
Fig. 581. Venetian Reticella Lace.
Reticella(Lat.reticulus, a little net). This was the first known needle-made lace, produced in all lace-making countries under different names. (SeeGreek Lace.) It was made in several ways: the first consisted in arranging a network of threads on a small frame, crossing and interlacing them in various complicated patterns. Beneath this network was gummed a piece of fine cloth, open like canvas, called quintain (from the town in Brittany where it was made). Then with a needle the network was sewn to the quintain by edging round those parts of the pattern which were to remain thick, then cutting away the superfluous cloth: hence the name of cutwork in England. A more simple mode was to make the pattern detached without any linen; the threads radiating at equal distances from one common centre served as a framework to others, which were united to them in geometric forms worked over with button-hole stitch (orpoint noué). The engraving shows a fine specimen of reticella from Venice, 1493. (See alsoMilan Reticella.)
Reticulated.Latticed like the meshes of a net (rete).
Reticulated Glass.(SeeGlass.)
Fig. 582. Reticulated Vase. Japanese.
Fig. 582. Reticulated Vase. Japanese.
Fig. 582. Reticulated Vase. Japanese.
Reticulated Porcelainis an Oriental product, of which the outer side is entirely cut out in geometric patterns, honeycomb, circles intercrossed and superposed to a second vase of similar, or of simply cylindrical form. Fig.582is a specimen of this style.
Fig. 583. Reticulatum opus.
Fig. 583. Reticulatum opus.
Fig. 583. Reticulatum opus.
Reticulated Work, Arch. (Lat.reticulata structura, literally, made like a net). Masonry constructed with diamond-shaped stones, orQuarrels, shown in Figs. 493 and 583. The latter shows one of the mouths of thecloacaopening on the Tiber.Reticulata fenestrawas a window grated over with bars of wood or metal crossing in the form of network.
Reticulum, R. Diminutive ofrete, a net.
Retinaculum, R. (retineo, to hold back). A rope used to moor a vessel to the shore.
Retorted, Her. Intertwined.
Retro-choir, Chr. Arch. Chapels behind or about the choir.
Reverse.The back of a medal. In very ancient coins this had no mark except that of the instrument by which it was fixed to receive the stamp of theobverse. By degrees this grew into a figure of a dolphin or some other animal. Some ancient Greek reverses areintagliosof the stamp in relief of theobverse. Complete reverses appear on Greek coins about 500B.C., and are of exquisite execution. (Cf.Obverse.)
Revinctum(opus), R. (revincio, to bind fast). Dove-tailed masonry. (See Fig.269.)
Rhabdion(lit. a small rod). An instrument used inencaustic painting, with which the wax tints were blended. It was probably flat at one end, and kept heated in a small furnace close at hand. (SeeEastlake,Materials, &c., i. 154.)
Rheda, R. A roomy four-wheeled carriage, of Gallic origin, with several seats. The driver was calledRhedarius.
Rheno, Gr. (ῥὴν, a sheep). A sheepskin cloak, covering the shoulders and as far as to the waist, worn by the ancient Germans as a protection against rain.
Rhingrave.The petticoat breeches worn in the reign of Charles II. (Planché.)
Rhomboid.“An equilateral oblique parallelogram.”
Rhomphæa,Romphæa,Rumpia, R. A sword with a long blade, used by the Thracians.
Fig. 584. Rhyton. Greek Drinking-cup.
Fig. 584. Rhyton. Greek Drinking-cup.
Fig. 584. Rhyton. Greek Drinking-cup.
Rhyton, Gr. and R. (ῥυτὸν, lit. flowing). A drinking-vessel of earthenware in the form of a horn or trumpet; in many instances with a handle.
Fig. 585. Rial. Queen Elizabeth.
Fig. 585. Rial. Queen Elizabeth.
Fig. 585. Rial. Queen Elizabeth.
RialorRoyal(Sp.real). A Spanish coin introduced into England in 16th cent. (SeeReal.)
RibandorRibbon(Welshrhibin; Irishruibin, &c.). A long narrow web of silk worn for ornament or use; especially for abadgeof devotion in love or war.
“See in the lists they wait the trumpet’s sound:Some love-device is wrought on every sword,And every ribbon bears some mystic word.”(Granville.)
“See in the lists they wait the trumpet’s sound:Some love-device is wrought on every sword,And every ribbon bears some mystic word.”(Granville.)
“See in the lists they wait the trumpet’s sound:Some love-device is wrought on every sword,And every ribbon bears some mystic word.”(Granville.)
“See in the lists they wait the trumpet’s sound:
Some love-device is wrought on every sword,
And every ribbon bears some mystic word.”
(Granville.)
The Ribbons of the various orders of Knighthood are:—of theGarter, a broad dark blue ribbon passing over the left shoulder; of theThistle, a broad dark green ribbon; of St.Patrick, a light blue; of theBath, red; of theStar of India, pale blue with white borders.
Ribbon,Riband, Her. A diminutive of aBend.
Ribibe.A kind of fiddle; 15th century.
Ribs, Arch. Projecting bands on ceilings, &c.
Rica, R. A square piece of cloth with a fringe, worn by priests and women on the head, and especially by the former when they were offering a sacrifice;riculawas a smaller veil worn in the same fashion. (Cf.Flammeum.)
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.
Ridels.French word for bed-curtains; 15th century.
Rimenato, It. (SeeCrusca.)
Ring Mail.Flexible armour of iron rings interwoven; introduced from the East by the Crusaders.
Fig. 586. Ring of chiselled iron. French. 16th century.
Fig. 586. Ring of chiselled iron. French. 16th century.
Fig. 586. Ring of chiselled iron. French. 16th century.
Fig. 587. Venetian Ring. 16th century.
Fig. 587. Venetian Ring. 16th century.
Fig. 587. Venetian Ring. 16th century.
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, &c. A large collection of Egyptian signet-rings is in the British Museum, many being much too large to be worn on the hand.Egyptianrings were of ivory, porcelain, or stone, but generally of gold. TheEtruscansandSabineswore rings at the foundation of Rome, 753B.C., those of the former being remarkable for beauty and intrinsic value. TheLacedæmonianswore iron rings. TheRomansalso under the Republic were proud of wearing an iron ring; under the Empire the privilege of wearing a ring raised the wearer to the equestrian order.GreekandRomanrings were, 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 Pompeii. TheBritonsandSaxonshad beautiful jewellery. The former 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 theniellorings of the Saxon period is one in the British Museum inscribed “Ahlreds owns me, Eanred engraved me.” Plain wire rings, or plain bands of metal merely twisted round the finger, are common objects in Saxon tombs; but the most beautiful specimens of this, as of other branches of the goldsmith’s art in antiquity, are fromIreland. InScandinaviathe earliest forms are spiral, and of simple workmanship.Ringswere a part of the official jewellery of kings, bishops, and cardinals; and thefisherman’s ring, 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 intoAntique,Mediæval, andModern; the former period endingA. D.800, and classified by nationalities. The later collections are classified asOfficial: ecclesiastical, civil, and military; orPersonal, viz. signet-rings, love and marriage, mourning, &c.; historical, religious (i. e. devotional, &c.), magic, and simply ornamental. (The substance of the above is drawn fromFinger-ring Lore, &c., byW. Jones, Chatto, 1877; andAntique Gems, by theRev. C. W. King. For the significance of rings in connexion with the history of Christianity, seeSmith and Cheetham,Dict. of Christ. Ant.s. v.)
Rinman’s Green.(SeeCobalt.)
Rip-rap, Arch. A builder’s term for a foundation of loose stones.
Riposo, It. The rest of the Holy Family during the Flight into Egypt is often shortly designated theRiposo; it is treated by different masters in a great variety of styles.
Riscus, R. (ῥίσκος). A wardrobe or chest for clothes.
Rising,Roussant, Her. Said of birds about to take wing.
Rivers, Chr. The four rivers of Paradise are variously represented in primitive Christian art; e. g. theLambstanding on a mountain, from which they flow; or they are personified, and symbolize the four Evangelists: the Gihon is St. Matthew; Pison, St. John; Tigris, St. Mark; and Euphrates, St. Luke. The following lines in one instance accompany such a representation on an engraved copper plate:—
“Fons paradisiacus per flumina quatuor exit;Hec quadriga levis teΧρεper omnia vexit.”
“Fons paradisiacus per flumina quatuor exit;Hec quadriga levis teΧρεper omnia vexit.”
“Fons paradisiacus per flumina quatuor exit;Hec quadriga levis teΧρεper omnia vexit.”
“Fons paradisiacus per flumina quatuor exit;
Hec quadriga levis teΧρεper omnia vexit.”
InCLASSICart generally, 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 Romulus and Remus; other rivers by the flora or by certain cities of their banks, &c. (ConsultDidron,Iconographie Chrét.;Martigny, &c.)
Roan.(1) A kind of leather much used for bookbinding; it is of sheepskins tanned with sumach. (2) Said of abayorsorelhorse marked with grey.
Robigalia, R. Roman festivals held every year on the sixth of the calends of May (25th of April), in honour of the god Robigus, to preserve the wheat from mildew.
Roborarium(robur, strength). An enclosure within a wooden palisade.
Fig. 588. Robur. Prison at Rome.
Fig. 588. Robur. Prison at Rome.
Fig. 588. Robur. Prison at Rome.
Robur, R. The subterranean dungeon of a prison (carcer), in which criminals were executed. In Fig.588the character of theroburis clearly seen; it is that of the prison of Ancus Martius and Servius Tullius at Rome, of which some ruins still remain.
Rochet, Chr. (Lat.rochetum; Anglo-Saxonroc, a loose upper garment). A short surplice without sleeves, open at the sides; imitated from a linen outer garment of the same name, much worn by women in the 14th century. Chaucer says,—
“There is no clothe sytteth betteOn damoselle than doth rokette.”
“There is no clothe sytteth betteOn damoselle than doth rokette.”
“There is no clothe sytteth betteOn damoselle than doth rokette.”
“There is no clothe sytteth bette
On damoselle than doth rokette.”
Rock-crystal.A material much used for carving in China.Fortunesays, “Fine specimens of rock-crystal, carved into figures, cups, and vases, are met with in the curiosity shops of Foo-chow-foo. Some of these specimens are white, others golden yellow, and others again blue and black. One kind looks as if human hair was thrown in and crystallized.Imitationsof this stone are common in Canton, made into snuff-bottles, such as are commonly used by the Chinese.” TheGreekname (κρύσταλλος, ice) refers to the belief that it was frozen water; theIndiansbelieve it to be the husk of which thediamondis the kernel, and call it theunripe diamond; inJapanit is cut into round balls used for cooling the hands; inChinaalso it is extensively carved; in theMiddle Agesit was highly valued throughoutEuropeas a detector of poison. Still more recently crystal balls have been supposed to have magical influence, and used for divination and conjuring.
Rockets, O. E. Slabs of wood used on lances, during exercise, for the same purpose as the buttons of foils.
Rococo, It. The style of decoration into which that of the Louis Quinze period culminated, distinguished for a superfluity of confused and discordant detail. (SeeLouis XV.)
Rod.In measurement, 16½ feet linear, or 272½ square feet.
Rodomel, O. E. The juice of roses, mixed with honey.
Rogus, R. A funeral pile when in process of burning, in contradistinction toPyra(q.v.).
Rokelay, O. E. A short cloak.
Roll-moulding(Arch.), profusely used in the Early English and Decorated styles, is a round moulding, divided longitudinally along the middle, the upper half of which projects over the lower.Roll and fillet mouldingis a roll-moulding with a squarefilleton the face of it.
Rolls of Arms.Heraldic records of ancient armorial insignia, preserved on strips of parchment. The earliest known are of the 13th century. (ConsultBoutell.)
Romal, Hind. A silk fabric, of which cotton imitations are made in England.
Fig. 589. Temple of Vesta at Tivoli, with Roman-Corinthian columns.
Fig. 589. Temple of Vesta at Tivoli, with Roman-Corinthian columns.
Fig. 589. Temple of Vesta at Tivoli, with Roman-Corinthian columns.
Roman Architectureis a combination of theEtruscanand theGreek, principally distinguished from the latter by the circular arch, and themonopteralor circular temple unknown to the Greeks, but a favourite form with the tomb-building ancestors of the Etruscans. Theordersof Roman architecture were the Doric and Ionic, detrimentally modified; the Corinthian, which they greatly enriched; and the Composite, of which the upper part of the capital was Ionic, and the remainder Corinthian. The distinguishing feature of the Roman architecture is, however, less in the modifications of the orders, than in their application incomposite arcades, or plain arches of Etruscan design, faced by and supporting a purely ornamental arrangement of a long horizontal entablature on two columns. (ConsultFergusson,Hist. of Arch., vol. i.)
Roman Doric Order of Architecture.A deteriorated imitation of the Grecian Doric, adopted, with considerable modifications, by modern Italian architects.
Roman OchreorItalian Earth. A pigment of a rich orange yellow, used both raw and burnt in oil and water-colours. (SeeOchre.)
Roman Sepiaissepia(q.v.) mixed with red.
Romanesque.A degenerated and hybrid style of architecture and ornament, transitional from the classical Roman to the introduction of the Gothic. In the architecture there is an incongruous combination of the horizontal and arched methods of construction; and in the ornament a similar dissonance of natural and conventional or fanciful objects.Fairholtcalls it theclassic rococo.Fergusson(Hist. of Arch., vol. i. p. 352) defines theRomanesqueas “that modification of the classical Roman form, which was introduced between the reigns of Constantine and Justinian, and was avowedly an attempt to adapt classical forms to Christian purposes.” He says, “IfRomanesqueis to be applied to our Norman architecture, the Parthenon ought to be calledEgyptianesque, and the Temple at EphesusAssyrianesque.” There seems to be no universally-received definition of this term.
Rondache, Fr. A round shield for foot-soldiers. It had a slit near the top to look through, and another at the side for the sword.
Ronde Bosse(It.rondo bosso). Sculpture in relief with a complete rounded outline, detached from the ground.
Rood, Chr. (1) A cross or crucifix. (2) A space of 1210 square yards; the fourth of an acre. (3) In building, 36 square yards of work. (4) As a linear measure variable, from 21 feet to 36 yards.
Rood-beam, Chr. The beam across the church by which theroodwas supported when there was norood-loft.
Rood-cloth, Chr. The veil by which the large crucifix orroodwas hidden during Lent.
Rood-loft,Rood-screen, Chr. A gallery, generally placed over the chancel screen in parish churches, in which the cross orroodwas set to view.
Rood-tower,Rood-steeple, Chr. Arch. A tower or steeple of a cruciform church, built above the intersection, i. e. immediately over therood.
Roquelaure.“A short abridgment or compendium of a cloak, which is dedicated to the Duke of Roquelaure.”
Rorarii, R. (ros, the dew). A body of light skirmishers in the Roman army, who were ranged in the second rank of thetriarii, with theaccensibehind them in the third line. They took their name from the light missiles which they scattered upon the enemy, which were like the drops of rain before a thunder shower. It was their business to begin the attack, and retire behind thetriariiwhen pressed. Their skirmishing was a prelude to the charge of the heavy-armed spears (hastati).
Rosary, Chr. A string or chaplet of beads for numbering prayers, an Oriental and ante-Christian custom of great antiquity. They are calledtasbihby the Indian Mohammedans; in SanscritJapanata, “the muttering chaplet,” &c.
Fig. 590. Heraldic Roses.
Fig. 590. Heraldic Roses.
Fig. 590. Heraldic Roses.
Rose, Her. Represented in blazon without leaves. The rose of England is generally drawn like the natural flower, or with natural stem, branches, leaves, and buds, but with heraldic rose-flowers. (See Fig.395.) In Classic art, a rose upon a tomb is an emblem of a short life. The ancient Romans were passionately fond of roses, and cultivated them assiduously in their gardens, and introduced them plentifully in their feasts and symposia. InmediævalEngland roses were the favourite presents on birthdays; and Whitsuntide was called, from the plenty of them, Rose Easter. Sticking a rose in the ear was the boast of an accepted lover.
“That in mine ear I durst not stick a rose,Lest men should say, Look where three farthings goes.”(Shakspeare.)
“That in mine ear I durst not stick a rose,Lest men should say, Look where three farthings goes.”(Shakspeare.)
“That in mine ear I durst not stick a rose,Lest men should say, Look where three farthings goes.”(Shakspeare.)
“That in mine ear I durst not stick a rose,
Lest men should say, Look where three farthings goes.”
(Shakspeare.)
The allusion refers to a thin silver coin of the reign of Elizabeth, called the three-farthing rose. (Planché.)
Rose-engine Pattern(Fr.guillochis). (1) An architectural moulding, also called Greek fret, meanders, and quirked torus. (2) In goldsmiths’ work it is an ornament of network made by means of a machine called a rose-engine. (Bosc.)
Rose Lake,Rose Madder. A rich tint prepared from lac and madder. (SeeMadder.)
Rose Pink.A coarse kind of lake; a delicate and fugitive colour. (SeePinks.)
Rose-quartz.A massive quartz of a rose-red colour, common in Ceylon.
Fig. 591. Rose-window in the Church of St. Croix, Orleans.
Fig. 591. Rose-window in the Church of St. Croix, Orleans.
Fig. 591. Rose-window in the Church of St. Croix, Orleans.
Rose-window(sometimes called a Catherine wheel), Arch. A large circular window divided into compartments by curved mullions. The most beautiful examples are met with in churches of the Florid Gothic period. (Fig.591.)
Rose-wood,Rhodes-wood, largely used in furniture as a favourite veneer, is a name applied to a large variety of trees, mostly imported from Brazil.
Rosemary, in Old England, was closely connected with wedding-feasts and with funerals.
“There’s rosemary: that’s for remembrance; pray you, love, remember: and there is pansies; that’s for thoughts.”
(Hamlet.)
(Hamlet.)
(Hamlet.)
(Hamlet.)
“There’s Rosemarie; the Arabians justifie,It comforteth the braine and memorie.”(A Dialogue between Nature and the Phœnix,by R. Chester, 1601.)
“There’s Rosemarie; the Arabians justifie,It comforteth the braine and memorie.”(A Dialogue between Nature and the Phœnix,by R. Chester, 1601.)
“There’s Rosemarie; the Arabians justifie,It comforteth the braine and memorie.”(A Dialogue between Nature and the Phœnix,by R. Chester, 1601.)
“There’s Rosemarie; the Arabians justifie,
It comforteth the braine and memorie.”
(A Dialogue between Nature and the Phœnix,
by R. Chester, 1601.)
Rosetta-wood.A beautifully-veined East Indian wood, of a bright red orange colour.
Rosettes.(SeeRibands.)
Rosins.(SeeResins.)
Rosso Antico, It. Ancient marble of a deep red tint, probably deepened in colour by antiquity, like theNero Antico(q.v.). It is the material of many ancient Egyptian and early Greek sculptures, unequalled in tone by the products of any modern quarries. It contains white spots and veins.
Rostrum, R. (Gr.Embolos). The prow of a ship. The pluralrostrawas used to denote a tribune in the Roman forum, from which orators addressed the people; it was so called because it was decorated with the figure-heads of the ships taken from the Volscians in the Latin War.
Rota, R. (1) A wheel composed of a nave (modius), spokes (radii), felloes (absides), and iron tires (orbesorcanthi ferrarii). (2) It was also an instrument of punishment.Rota aquariawas a hydraulic wheel;rota figularis, a potter’s wheel.
Rotta(Germ.rotte; Eng.rote), a stringed instrument of the early Middle Ages, sounded either as a harp or a fiddle.
Rotunda.A dome-shaped ormonopteral(q.v.) structure. The largestrotundaever made was that of the Vienna Exhibition in 1873.
Fig. 592. Gallic coin.
Fig. 592. Gallic coin.
Fig. 592. Gallic coin.
Rouelle, Fr. (lit. a small wheel). A French term which has been applied by antiquaries to numerous objects more or less resembling a wheel, such as brooches and coins. The Gallic coin (Fig.592) is from the bas-reliefs on a Roman arch at Orange.
Fig. 593. Rouen Plate. Decorated à la Corne.
Fig. 593. Rouen Plate. Decorated à la Corne.
Fig. 593. Rouen Plate. Decorated à la Corne.
Rouennais Faience.This style, of strongly Oriental character, and mostly applied to the decoration of what are called “lambrequins” (or mantlings) and “dentelles” (lace), has been the object of universal imitation in France and other countries. Figs. 593 and 594 are representative specimens remarkable for great originality.