Chapter 6

Fig. 14. Point d’Alençon.

Alençon, Point d’.Lace formerly known as Point de France. It is the only French lace not made on the pillow, but worked entirely by hand with a fine needle, on a parchment pattern; it is called “Vilain” in the French provinces, and in England is known as needle point. (Fig.14.)

Alerion, Her. An eagle, in early Her., represented without feet or beak. (SeeEagle.)

Ale-stake.In the middle ages the roadside ale-house was distinguished by a stake projecting from the house, on which some object was hung for a sign.

Alexandrinum(opus), R. A kind of mosaic employed especially for the pavement of rooms. The distinctive feature of these mosaics is that the lines or figures composing the designs are in two colours only, the prevailing ones being red and black upon a white ground. A large number of mosaics of this description exist at Pompeii, which are also calledsectilia.

Alexikakos(Apollo). Another name of the celebrated statue generally called the Belvedere Apollo; from Nero’s villa at Antium.

Algaroth powder.An ingredient in the manufacture of an Antimony white pigment.

Fig. 15. Alhambraic ornament.

Alhambraic.Ornamentation in the Moorish style of the Alhambra, the characteristic of which is a faithful imitation of natural combinations of form and colour, with a rigid avoidance of the representation of natural objects. (Fig.15.)

Alicula, R. A kind of large mantle, furnished sometimes with a hood. The term is derived from the Greekἄλλιξ, the name given to the Thessalian chlamys. (SeeChlamys.)

Alizarin, the colouring principle of the madder.

AllecretorHallecret. A light armour for cavalry and infantry, consisting of a breastplate and tassets (or gussets), 16th century.

Allegoryin art, is allegorically represented as a female figure veiled.

All HalowesorAll Hallowes. O. E. for All Saints.

Alloysof Gold. Gold is found alloyed with various metals, never without silver, often with copper, iron, or other substances in small quantities, and sometimes with mercury, when it is called anamalgam. Gold alloyed with silver is callednative gold. SeeElectrum.

AllouyèreFr. (Lat.alloverium). A purse or pouch often carried at the girdle, for holding papers, jewels, and money.

Almayne Rivets(German Rivets). Rivets used in plates of armour made to slide and thus give play to the arms and legs, invented in the 17th century, in Germany; hence their name.

Almery,Aumery, orAmbry, Arch. Chr. A niche or cupboard by the side of an altar, to contain the utensils belonging thereto.

Almond, Chr. An aureole of elliptic form, which is frequently met with encircling representations of saints, or of God the Father, God the Son, or the Virgin. A more common name, however, for this aureole isVESICA PISCIS(q.v.). The term ofmystical almondwas applied to the symbol expressive of the virginity of the Virgin Mary. The mystical meaning attached to this symbol is explained by reference to the rod of Aaron, which consisted of the bough of an almond-tree that had flowered in a single night and produced an almond on the morrow.

Almonry,Almonarium, Arch. Chr. A room where alms were distributed.

Fig. 16. Almuce.

Almuce,Aumuce,Amess, Chr. (almutium). A furred hood worn by the clergy for the sake of warmth, from the 13th to 16th centuries. Common in brasses of the 15th century. (Fig.16.)

Aloa, orHaloa. An Attic festival, in honour of Demeter and Dionysus.

Alostel, O. E. A cry of heralds at the close of a tournament, ordering the combatants to quit the lists and retire to their lodgings.

AlphaandOmega, Chr. (ἄλφαandὠμέγα). These two letters, respectively the first and the last of the Greek alphabet, symbolize our earthly life, since this has a beginning and an end. They are also a symbol of God as being the beginning and end of everything.

Altar.A kind of platform or table upon which sacrifices were offered to the gods. Hence, in Christian art, the table upon which the Eucharistic sacrifice is offered. (SeeAntependium,Ciborium,Reredos, &c. SeeAltareandAra.)

Altar cards, Chr. Portions of the service of the mass printed separately on cards, and placed against the reredos of an altar.

Altar cloth, Chr. The linen coverings, and embroidered hangings of an altar.

Altare, R. (alta ara, high altar). A raised altar as contradistinguished from thearawhich was of no great height. (Fig.17.)

Fig. 17. Circular Roman altar.

Altar front, Chr. An antependium (q.v.).

Altar screen, Chr. The partition behind the high altar, separating it from the Lady Chapel.

Alto-rilievo(Ital.) High Relief. SeeRilievo.

Alumis used in many processes—in the preparation of paper for water-colour painting, and oflakes, andcarmine, from cochineal.Roche alum, or roach alum,Roman alum, andTurkey alum, are varieties of the common alum, described by mediæval writers asalumens.

Alumen(Lat.), Greek, (stypteria). Mediæval writers confused this word with the alums. The name was applied by the classics to several salts of the nature of vitriols, and among them to the natural sulphate of iron (copperasorgreen vitriolof commerce).

Alur,Aloring, orAlurde, &c., O.E. Parapet wall.

Alvéole; seeNimbus.

Alveus, R. (alvus, the belly). (1) A bath constructed in the floor of a room, the upper part of it projected above the floor, the lower part being sunk into the floor itself. (2) A playing-board, which was divided in the same manner as theABACUS(q.v.). (3) A canoe hollowed out of the trunk of a tree, the Greekμονόξυλον. (4) The hull of a ship. (5) A wooden trough or tray.

AmaorAmula, Chr. A long phial for holding the wine presented at the altar at the moment of offering.

Amassette, Fr. An instrument of horn used for spreading colours on the stone in the process of grinding.

Amatito, Ital. Lapis Amatita. Amatito is thesoftred hæmatite, and is called alsomatita rossa.Lapis amatitais thecompactred hæmatite, and is also called in Italymineral cinnabar, and in Spainalbin. When this word is used by early writers on art, it probably indicatesred ochre, the red hæmatite of mineralogists. (Fairholt.)

Amber.There are two varieties of this substance, viz., the grey and the yellow amber, of which the latter only need here be more particularly noticed. Its use may be traced back to a very early antiquity, the purposes to which it was applied being the setting of jewels and furniture. It was employed by the Jews for making amulets. Amber was also used by the Egyptians in the fabrication of necklaces composed of pearls or other delicate materials. By the Romans it was sculptured into vases or statuettes. The name ofvasa electrinawas given to amber vases set with silver, and that ofelectrina paterato pateræ made of amber alone. Amber was largely used by early painters as avarnish, and also as avehicle. It is harder than copal, and is said to be the most durable of all varnishes. It requires a long time to fit it forpolishing. Amber is supposed to be a vegetable fossil; it is washed up by the sea, especially on the shores of the Baltic.

Amber Yellow, is anochreof a rich amber colour in its raw state; when burned it yields a finebrown red.

Ambitus, Gr. R. and Chr. (ambio, to go round about). A small niche in underground Greek or Roman tombs forming a receptacle for a cinerary urn. In the Middle Ages these niches were so far enlarged as to admit coffins; the name under which they then went beingEnfeus(q.v.). During the same period the termambituswas also applied to the consecrated ground by which a church was surrounded. It served as a place of asylum as well as for burial. The term is also applied to the process of canvassing for votes.

Ambivium, R. (ambiandvia, a way round). Any road or street leadingrounda place.

Fig. 18. The ambo of St. Lawrence at Rome.

Ambo, Chr. (perhaps fromἀναβαίνειν, to ascend). A tribune of stone or marble in the ancient Latin basilicas, a pulpit. Fig.18gives a representation of the ambo in the church of St. Lawrence without the walls at Rome.

Ambrices, R. The cross laths (regulæ) inserted between the rafters and the tiles of a roof.

Ambry; seeAlmery.

Ambulant, Her. In the act of walking.

Ambulatory, Chr. (ambulo, to walk). Part of a cloister, forming a kind of gallery for taking exercise in.

AmentiorAmenthi, Egyp. One of the names given to the nether world of the Egyptians. It means theunseen region. We learn from Plutarch’s treatise on Osiris that, “the subterranean regions whither souls betake themselves after death is calledAmenthes.” Osiris is the lord and god of Amenti, which was also called by the Egyptians thecountry of truth.

Amentum, R. A thong attached to the shaft of a lance at the centre of gravity. The soldier placed the fingers of his right hand between the two ends of the thong, gave the weapon a rapid turn, and then hurled it.Amentumwas also used to denote the leather strap by which certain kinds of boots, such as thecrepidæ,solæ, &c., were fastened above the instep.

Amess.(SeeAlmuce.)

Amethyst, (ἀμέθυστος, without intoxication.) A precious stone of a more or less deep violet colour. The engravers of antiquity carved figures upon it, in especial those of Bacchus, since the stone was also used, in preference to any other, for making drinking-cups, from a belief that it possessed the virtue of dispelling intoxication. This was the origin of the Greek term. Among the ancient Jews the amethyst was one of the twelve stones composing the breastplate of the high priest; it occupied the eighth or ninth row. In Christian symbolism the amethyst (or the colour violet) signifies humility and modesty.

Amiantus, (ἀμίαντος[? undefiled]). A fibrous uninflammable mineral substance. It was used by the ancients for making fire-proof clothing. It was known by the name ofasbestus(ἄσβεστος, uninflammable).

Amice.A piece of fine linen in the form of an oblong square, suspended over the shoulders of the clergy.Puginsays it is “a white linen napkin or veil worn by all the clergy above the four minor orders.”Durandsays it is a proper covering for the head, typical of the helmet of salvation alluded to by the apostle; or of the cloth with which the Jews covered the Saviour’s face, when they asked him to prophecy who struck him. Milton, inParadise Regained, alludes to it,—

“Morning fairCame forth with pilgrim steps, inamicegrey.”

“Morning fair

Came forth with pilgrim steps, inamicegrey.”

Amma, Egyp. (1) A measure of length in use among the ancient Egyptians. It was about sixty feet. (2) A kind of line used in land surveying.

Ammah, Egyp. The door which formed the exit from the abode of the dead. Chapters lxxiii. and cxv. of theBook of the Deadare entitled,—On passing Ammah; i. e.directing one’s course to heaven by stepping over the Ammah.

Amorevoleof Verona. One of the Italian literary academies. Their device was a hedgehog with its spines laden with grapes (for its young). Motto, “non solum nobis.”

Amorini, Ital. Cupids.

Ampelitis, Gr. (ἄμπελος, a vine). A black pigment prepared by the ancients from the burnt branches of the vine.

Amphibalus, Chr. A vestment, used on Sundays and high festivals; peculiar to the Gallican Church.

Amphidromia.Family festival held by the Athenians upon the occasion of the birth of a child. The carrying of the child round the hearth gave the name to the festival.

Amphimallum, Gr. and R. (ἀμφί-μαλλον, woolly on both sides). A description of woollen cloth more or less rough, and having a nap on both sides.

Amphiprostylos, Gr. and R. (ἀμφι-πρόστυλος). A temple or other building having two open porticoes (porticumandposticum), both in front and rear. They are so constructed as to project beyond thecella, or main body of the building.

Amphitapus, Gr. and R. (ἀμφί-ταπος, hairy on both sides). A particular kind of cloth, made of some material resembling Vicuna wool, and having, like theamphimallum, a nap on both sides. It was probably of Eastern origin.

Fig. 19. Ground-plan of an amphitheatre.

Amphitheatre, R. (ἀμφι-θέατρον). A building which was at first constructed for the purpose of exhibiting gladiatorial shows to the Roman populace; but later on any kind of spectacle, even to anaumachia, or sea-fight, was exhibited there. In the engraving, A shows the ground-plan of an amphitheatre, and B the plan of the seats.

Fig. 20. Greek Amphoræ.

Amphora, Gr. and R. (ἀμφὶ-φορέω). A large earthenware vessel, having a handle on each side of its neck (whence the name), and terminating in a point. Amphoræ were used for holding various kinds of produce, especially wine; they were placed side by side in an upright position in the cellar, the floor of which was covered with a deep bed of sand. The engravings represent amphoræ from Cnidus, Chio, and Samos. Amphoræ were also made of glass; and a specimen is mentioned by Nepos of one made of onyx. Homer mentions them of gold and stone; and the Egyptians had them of brass.

Amphotis, Gr. and R. 1. A brass cap lined with cloth inside. 2. A simple woollen cap worn by athletes to protect their temples and ears from the blows of thecestus, in a boxing match. 3. A wooden vessel in use among the ancient Greek peasants, as a milking-pail. It derived its name from having two handles or ears.

Ampulla, Gr. and R. A phial or flask with short and narrow neck and spherical body, which was used to hold the oil requisite for bathers (ampulla oleria); it could also be used to hold vinegar, wine, and other beverages, and was then calledampulla potaria. The ampulla generally took the form of a globe or bladder, but not invariably; a lentil-shaped variety with rounded sides was very common.Ampulla rubidawas the name given to the leather-covered flasks which were made use of by travellers or sportsmen to carry wine, vinegar, or oil. The vessel or cruet used in Christian churches for the consecrated oil or wine was hence called theAmpul.

Ampyx, Gr. and R. (ἄμπυξ, fromἀμπέχω, to surround). Latinfrontale. A general term to denote any net composed of strings, bands, or ribbons, which forms a head-band. It thus denotes at once a woman’s head-dress, or the ornamental strips of leather which serve as head-band for a horse. Theampyxworn by women was in some cases very costly, being made of gold or silver, and adorned with precious stones. The term was also applied, by analogy, to the cover of a vase. Another word for it isampicter.

Amulets.Objects of a very heterogeneous description, to which is superstitiously attributed the power of healing certain diseases, or averting them from men and animals. This is the meaning which attaches, in its widest sense, to the term amulet (amuletum). Amulets are unquestionably of Eastern origin; by the Egyptians they were looked upon as preservatives against dangers, unlucky days, enemies, &c. The varieties of them were very numerous; among others, were scarabæi, small columns, cartouches, symbolic eyes, interlacing fingers, heads of uræus, &c. A large number of stones were also employed as amulets; those of commonest occurrence are hematite, jasper, lapis lazuli, amethysts, diamonds, heliotropes, &c. Each of these amulets had its special virtue; for instance, the clear crystal worn during prayer rendered the god propitious, and compelled him to give ear to the suppliant. Coral kept every evil influence away from a house; and in Italy it is looked upon, even at the present day, as a preservative against the evil eye. In Christian archæology, the name of amulets, or in some instances,Encolpia(q.v.), was given to relics, or objects of devotion, such as crosses, medals, wood from the true cross, the bones of saints, &c. Amulets were also calledperiapta(περίαπτα), i. e. suspended, because they were hung round the neck, and alsopyctacium, because some amulets were folded in two. The Arabic word amulet means the same asperiapta, that which is suspended.

Amussis, R. The exact sense of this term is not clearly defined by ancient authors, beyond the fact that it denotes generally any kind of instrument employed by builders—especially masons—for testing the accuracy, regularity, and evenness of their work. The term is used to denote sometimes the plumb-line, rule, or square; sometimes the level, measuring-line, &c.

Anabathra, Gr. and R. (ἀνά-βαθρα, steps up). Steps or stairs; a raised step; a mounting block. These last were often placed along the high roads.

Anabologium, Chr. Another name for the Humerale orAmice(q.v.).

AnaceiaorAnakeia, Gr. (fromἄναξ, a king). A festival held at Athens in honour of Castor and Pollux, who were also calledAnaktesandAnakestes. (SeeAnaceium). Similar festivals were held at Sparta, Argos, and other cities of Greece.

Anaceium, Gr. A temple of ancient Athens, dedicated to Castor and Pollux. Slaves used to be sold there.

Anaclinterium, Gr. (ἀνακλιντήριον). The head-board of a sofa or bed, which served as a support for the bolster and the pillow on which the sleeper’s head rested.

Anadem, Gr. (ἀνάδημα). In general a fillet or head-band; but in a more restricted acceptation, an ornamental band, such as was worn by women and youths among the Greeks. It was thus distinguished from thediademaand thevitta, which were also head-bands, but worn solely as the insignia of honorary, regal, or religious distinctions.

Anaglyph, (ἀνὰandγλύφειν, to carve). A general term to denote any work of art that is sculptured, chased, carved, or embossed, such as cameos, bas-reliefs, or other raised work, whether in metal, marble, or ivory. When such sculptures or chasings are incised or sunk, they are calledIntagliosorDiaglyphs(q.v.). According to St. Clement of Alexandria, anaglyphs were employed by the Egyptians when they wished to hand down a panegyric of any king under the form of a religious myth. Although the words of St. Clement are very obscure, and have furnished materials for countless discussions, it is now admitted that the anaglyphs in question belong to the group of hieroglyphics which may be deciphered on the cartouches of the Pharaohs, and in which we have, in fact, panegyrics of the Egyptian kings veiled in religious myths. The Egyptians also gave the name of anaglyphs to a kind of secret writing, understood only by the initiated; even at the present day it remains undecipherable, owing to our imperfect knowledge of Egyptian mythology. (SeeCælatura.)

Anagogia.A festival at Eryx, in Sicily, in honour of Aphrodite.

Analemma, Gr. and R. (ἀνάλημμα). Any raised construction which serves for a support or rest, and more particularly a pier, wall, or buttress. (2) The pedestal of a sun-dial, and so the sun-dial itself.

Anancœum, R. A drinking-cup of great capacity, the form of which is unknown. If we may credit Varro it was sometimes richly chased.

Anankaion, Gr. (ἀναγκαῖον, fromἀνάγκη, restraint). A kind of prison the purpose of which is not exactly known. According to some archæologists it was a private prison for slaves, or for freedmen, who, from some fault, were reduced to servitude again; others assert that it was a public prison.

Anapiesma, Gr. and R. (ἀνα-πίεσμα, that which is pressed back). An appliance used in ancient theatres. It was a kind of trap-door by means of which deities were raised from beneath the stage so as to make them visible to the spectators. Theprosceniumcontained a certain number of these trap-doors; one of them, leading from the orchestra to the front of the stage, enabled the Furies to appear; by another, marine deities made their appearance; while that through which passed the shades who ascended Charon’s staircase was calledCharon’s anapiesma.

Anastatic.An ingenious modern process of reproducing copies of printed matter, engravings, ink drawings, &c., by transferring them to a sheet of polished zinc.

Anathēma, Chr. (ἀνάθημα, an offering). Anything offered up in churches by the faithful; as, for instance, vases and other utensils for sacrifice, altar ornaments, &c.

Anathĕma, Chr. The greater excommunication, answering to the Hebrewcherem.

Anchor.In Christian Art, the emblem of Hope. The attribute of S. Clement, the Pope, who was bound to an anchor, and thrown into the sea. (SeeAncora.)

Ancile, R. A shield of the shape of a violin case. It was the sacred shield which, according to tradition, had fallen from heaven into the palace of Numa. It occurs frequently on medals, especially those of Augustus. The two incavations of the shield were more or less deep, and usually semicircular. But Ovid describes it as of an entirely different shape, being cut evenly all round;Idque ancile vocat, quod ab omni parte recisum est(Ovid, Fast. iii. 377). TheSalii, or twelve priests of Mars Gradivus, had twelve such shields. The form was oval, with the two sides curving evenly inwards, so as to make it broader at the ends than in the middle. They used to beat their shields and dance.

Anclabris, Gr. and R. A small table used instead of an altar at sacrifices; it was slightly concave, so as to adapt it to hold the entrails of the victim for the inspection of the diviners. (SeeAltar.)

Ancon, Gr. and R. (αγκων). A term admitting various meanings, (1) A small console on each side of a door supporting an ornamental cornice. (2) The arm of a chair or arm-chair. (3) A cramp of wood or metal serving to connect together courses of masonry or blocks of stone. (4) The prongs or forks at the end of the props employed by hunters to hang their nets upon. (5) An earthenware vessel used in Roman taverns for holding wine. According to the etymology of the word which in Greek signifies hollow or elbow, this bottle must have been shaped like a retort. (6) The arms or branches of the square used by carpenters and stone masons, which form an angle similar to that formed by the bent arm.

Fig. 21. Roman anchor, from a bas-relief.

Ancora, Gr. and R. (ἀγκύρα, fromἄγκος, a bend). An anchor or piece of iron used to stop a ship. Like those now in use, the ancient anchors were generally furnished with two flukes or arms, but sometimes they had only one. In the latter case they were calledterostomos, a term corresponding to our modern blind anchor. A bas-relief on the column of Trajan represents an anchor placed at the bow of the vessel. In Christian archæology the anchor is a symbol of hope; an anchor is frequently met with, among Christian symbols, associated with a fish; the emblem of the Saviour (SeeAcrostic).

Ancorale, Gr. and R. Literally the cable of an anchor, and then the buoy-rope, or even the buoy itself. The ancient anchors had a ring at the end of the shank to which the buoy-rope was attached. The latter served not only to indicate the place where the anchor lay, but also to drag the flukes out of the ground when the anchor was raised.

Andiron.Iron standards with bars for supporting logs of wood fires, frequently richly ornamented, and sometimes made partly of silver.

Andriantes, Gr. (ἀνδριάντες, images of men). Statues set up by the Greeks in honour of the victors in the public games. This custom dated from 50 Olym., or 584B.C.

Androgeonia.An Athenian annual festival, in honour of Androgeus, the son of Minos.

Fig. 22. Plan of a Greek house, showing the andron.

Andron,Andronitis, Gr. and Gr.-R. (ἀνδρὼν, fromἀνὴρ, a man). That part of the Greek or Græco-Roman house exclusively set apart for men. Fig.22represents the ground-plan of a Greek house; theandronoccupies all that part of the building which surrounds the open court, and consists of the apartments numbered 1 to 9. The Romans applied the term simply to a passage separating a house or part of a house from another.

Anelace, O. E. A knife or dagger worn at the girdle; broad, two-edged and sharp.

“Ananelaceand a gipciere all of silk,Hung at his girdle, white as morwe milk.”(Chaucer,Canterbury Tales.)

“Ananelaceand a gipciere all of silk,

Hung at his girdle, white as morwe milk.”

(Chaucer,Canterbury Tales.)

Fig. 23. Angel of the reign of Elizabeth.

Angel.A gold coin current in England and France in the 15th and 16th centuries. It derived its name from the figure of an angel stamped upon it. A similar coin, either of gold or silver, was current in France at various periods. From the time of Louis IX. to that of Louis XI., the gold angel was equal in value to a crown of fine gold, or a little more than fourteen francs. It was stamped with a figure of St. Michael, holding in his right hand a sword, and in his left a shield with three fleur-de-lys. Henry VI., king of England, when he was in possession of Paris, had a gold angel struck which was not above seven francs in value. It was stamped with the figure of an angel holding in his hand the shields of France and England. The same king also had a silver angel struck which was only worth about five and a half francs.

Fig. 24. Arms of France with Angels as supporters. XIV. century.

Angels, (Gr.ἄγγελος, a messenger) in Christian Art are represented in nine degrees, which are divided into three categories. The first consists of Seraphim, Cherubim, and Thrones; the second of Dominations, Virtues, Powers; and the third of Princedoms, Archangels, and Angels. They are represented as young, to show their continued strength; winged as messengers of speed; barefooted and girt to show their readiness; in robes of white indicative of purity, or in cloth of gold for their glory; the cloth of gold diapered with bands of precious stones; the emerald, emblem ofunfading youth; the crystal, ofpurity; the sapphire, ofcelestial contemplation; and the ruby, ofdivine love. During the renaissance, Pugin complains, “the edifying and traditional representations of angelic spirits were abandoned, and, in lieu of the albe of purity and golden vests of glory, the artists indulged in pretty cupids sporting in clouds, &c.” The proper attributes of the angels are trumpets, for thevoice of God; flaming swords, for thewrath of God; sceptres, for thepower of God; thuribles or censers for theprayers of saints, and musical instruments to emblem theirfelicity.

AngiportusorAngiportum, R. A narrow road passing between two houses or rows of houses, or an alley leading to a single house.

Fig. 25. Point d’Angleterre.

Angleterre, Point d’.Lace made by Flemish makers who were invited to settle in England in the reign of Charles II., the English Parliament having passed an act prohibiting the importation of all foreign lace. England, however, could not produce the necessary flax, and the lace was of inferior quality. The merchants of the time remedied this by smuggling large quantities of lace from the Brussels market, selling it as English Point or Point d’Angleterre, by which latter name it is still known, effacing the old name “Point de Bruxelles.” (Fig.25.)

Anglicanum Opus.(SeeEmbroidery.)

Angones.French weapons of the Middle Ages furnished with three blades, one of which was straight, broad and keen, the remaining two curving outwards. Some angons have a lozenge-shaped head-blade. They were used as a kind of pike, and sometimes hurled like javelins. The latter kind somewhat resembled theaclis.

Anguilla, R. A whip made use of by Roman schoolmasters for punishing their scholars. It was so called because made from the skin of an eel (anguis).

Anguis, R. A serpent which among the Romans symbolized the local spirit (genius loci). Serpents were painted upon a wall to deter the public from defiling the spot thus indicated. At Pompeii these representations of serpents are found in the bakehouses, kitchens, and similar places where cleanliness is peculiarly desirable. The same term was applied to a military ensign in the shape of a serpent.

Anime.Gum anime is a resin, which is mixed with copal in making varnish, causing it to dry quickly and firmly.

Animosi of Milan.One of the Italian literary academies. Their device was “stags passing a river, resting on the heads of each other.” Motto, “Dant animos vices.” (Mutual help gives strength.)

Anklets, Gr. (SeePeriscelis.)

Annealing.The process of tempering brittle glass and metals by heat.

Annulet, Her. A plain ring, or false roundle.

Annulets, Arch. The rings or mouldings about the lower part of the echinos or ovolo of Doric capitals.

AnnulusorAnulus, Gr. and R. (dimin. ofanus, a ring). A finger-ring. They were originally made of iron, and used as a signet for sealing. Later on they were made of gold. Among the Greeks and Romans they were worn on the fourth finger of the left hand, whence the expressionsedere ad anulos alicui, to be seated at any one’s left hand. Theanulus bigemmiswas a ring set with two precious stones;anulus velariswas a curtain ring. A plait of hair arranged in circles round the back of the head was also calledanulus. In architecture the term was formerly employed instead ofanulet. The stone most frequently used for rings was the onyx, upon which devices were carved with wonderful skill. Thebezel, or part of the ring which contained the gem, was calledPala. (SeeRings.)

Ansa, Gr. and R. A term signifying both haft and handle, and even eyelet or hole. Any vessel or vase which has large ears or circular handles on the neck or body, is said to be furnished withansæ.Ansa ostiiwas the term applied to the handle by which a door is pulled or shut to. The bronze or iron eyelet on the top of a steelyard were also calledansæ stateræ. The holes or eyelets made in the side leathers of a Greek or Roman shoe were calledansæ crepidæ; the handle of the rudder,ansa gubernaculi; lastly an iron cramp was calledansa ferrea.

Fig. 26. Templum in antis.

Antæ, R. Square or rectangular pilasters supporting the walls of a temple, which was thence calledtemplum in antis. (Fig.26.) Theantæthus formed the end of the walls of thecella. The capitals ofantæand the friezes abutting on them were sometimes richly ornamented, as may be seen by referring to Fig.27, which represents, in their restored state, the frieze and one of the antæ in the temple of Augustus, at Ancyra, in Galatia.

Fig. 27. Capital and frieze of one of the Antæ in the temple of Augustus.

Antarius,Antarii funes, R. Ropes employed for raising into the proper position any object of considerable weight, such as a column, mast, &c.

Fig. 29. Archaic Antefixa in terra-cotta.

Antefixa.Ornaments of terra-cotta which were placed above the cornice, at the end of each row of tiles on a roof (Fig.29). They were also used in ancient times for decorating the ridge of a roof. We possess specimens of antefixa remarkable for delicacy of design and execution; such were the antefixa of the temple of Diana Propylæa at Eleusis, and the various Etruscan specimens to be found in our museums. They were decorated with masks, leaves, and especially palms painted to imitate nature or in different colours. The Etruscans employed coloured antefixa only; many specimens of these last may be seen at the Louvre, and in the museums of Perugia, Florence, and Naples. The Antefixa of the Parthenon were of marble. (Fig.30.)

Fig. 30. Antefixa in marble from the Parthenon.

Antemural.A term referring either to the outworks protecting the approach to a castle, or to the wall surrounding the castle.

Antenna, R. The yard-arm of a ship.

Antepagmentum, R. The jamb of a door.Antepagmentum superius, the lintel.

Antependium.Richly ornamented hangings of precious metal, wood, or textile fabrics, in front of a Christian altar.

Anteportico.A synonym ofPorch(q.v.); but little used.

Fig. 31. Anterides of the Cloaca Maxima at Rome.

Anterides, Gr. and R. (?ἀντερείδω, to stand firm). A structure employed to strengthen a weaker one. It consisted of a kind of buttress placed against an outer wall, chiefly in subterranean constructions, such as a sewer or aqueduct. Fig.31represents theanteridesof the Cloaca Maxima at Rome.

Anthony, Cross of St., in the form of the letter T. It is the idealized representation of a crutch. (SeeCrosses.)

Anthropomorphic.Man-shaped; said for example of the character of the Greek Religion, whose gods and demi-gods were only ideal men, from which circumstance the representation of the human form became the first object of their plastic art.

Antia.The iron handle of a shield.

Antiæ, R. The ringlets of hair worn by men and women which hung about the ears and the temples.

Antick.Strange, irregular, or fantastic in composition.

Antilena, R. An appliance attached to the pack-saddle of a beast of burden. It was a broad strap passing in front of the animal’s breast so as to prevent the saddle from slipping backwards. It was employed especially in mountainous districts.

Antimensium, Chr. A consecrated altar cloth.

Antimony.The oxide of this metal is employed in the preparation of yellow pigments for enamel or porcelain painting. Glass is coloured yellow by antimony. (SeeNaples, Guimet’s Yellows.)

Antipendium, Chr. (SeeAntependium.)

Antiphoner, Chr. An antiphonarium; a book of responses set to music.

Antique.Pertaining to ancient Greek or Roman art: more freely used in recent times to describe the quality of ancient art in general, but properly applicable only to classical art.

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