I.

Ich Dien.I serve. The popular belief that Edward the Black Prince adopted this motto and the “Prince of Wales’s feathers,” at the battle of Cressy, from the blind King of Bohemia, is not sustained by investigation. It was at the battle of Poitiers that he first adopted this crest, joining to the family badge the old English wordIc den(Theyn), “I serve,” in accordance with the words of the Apostle, “The heir, while he is a child, differeth nothing from a servant.” (Mrs. Palliser;Historic Devices.)

Ichnography.The art of making maps or plans.

Iconic(sc.statues), Gr. and R. (εἰκονικὰ, i. e.) Portrait-statues; especially statues raised in honour of athletes who had been victorious in the contests.

Iconoclasts, Chr. Image-breakers. The name originated in the 8th or 9th century in the Eastern Empire, from which finally Theophilus banished all the painters and statuaries in 832. It has been since generally applied to those who, at various outbreaks of fanaticism, have destroyed ecclesiastical objects of art, and is especially applicable to the disciples of Savonarola in 1497, and to the Puritans of Scotland and England during the civil wars.

Iconography(i. e. image-description). The science that deals with statues and images, bas-reliefs, busts, medals, &c. Thus we have an Egyptian, Greek, Roman, mediæval iconography, &c. The best work on this science is “Christian Iconography; or the History of Christian Art in the Middle Ages,” by M. Didron. The second volume contains a manual on the subject by a painter of the 12th century.

Iconostasis, Chr. The screen of the chancel in ancient churches, so called because it was there that images (εἰκόνες) were displayed for the adoration of the faithful.

IdealandReal.“Any work of art which represents, not a material object, but the mental conception of a material object, is in the primary sense of the wordideal; that is to say, it represents anidea, not athing. Any work of art which represents or realizes a material object is, in the primary sense of the term,un-ideal.” (Modern Painters, vol. ii. chap. 13.) In a practical sense anidealpicture or statue (e. g. the Medici Venus) is not the portrait of an individual model, but the putting together of selected parts from several models. Raphael said, “To paint a beautiful woman I must see several, and I have also recourse to a certainidealin my mind;” and Guido said, “The beautiful and pureideamust be in the mind, and then it is no matter what the model is.”

Ides,Idus, R. One of the monthly divisions in the Roman year; it fell on the 15th in months of thirty-one days, excepting January, August, and December; in months with only twenty-nine or thirty days, theidesfell on the 13th. Thekalendsare the first of every month; thenonesare the 7th of March, May, July, and October, and the 5th of all the other months; and the ides always fall eight days later than the nones; and the days are reckoned backwards: thus the 13th of January is the ides of January, and the 14th of January the 19th dayante diem(or before) the February kalends. The morrow of the ides was looked upon as an unlucky day (nefas).

Illapa, Peruv. One of the divisions of the temple of the Sun (Inti) among the ancient Peruvians, so called because it was dedicated to the thunder (Illapa). (SeeInti.)

Illumination.This art originated simply in the application ofminium(or red lead) as a colour or ink, to decorate a portion of a piece of writing, the general text of which was in black ink. The term was retained long after the original red lead was superseded by the more brilliantcinnabar, or vermilion. Ornaments of all kinds were gradually added, and the term includes the practice of every kind of ornamental or ornamented writing. From the 3rd century Greek and Roman specimens exist of golden lettering upon purple or rose-coloured vellum, and the art prevailed wherever monasteries were founded. Anglo-Saxon and Irish MSS. of the 6th and 7th centuries exhibit a marvellous perfection, characterized by wonderfully minute interlacements of the patterns. Nearly all the best specimens of illumination were destroyed on the dissolution of monasteries. (Consult “The Art of Illuminating,”by W. R. Timms.)

Imagines a vestir, It. Wooden images set up in Italian churches, with the heads and extremities finished, and the bodies covered with real drapery.

Imagines Majorum, R. Portraits of ancestors, or family portraits; they usually consisted of waxen masks, which were kept in the cases of anarmariumor in anædicula; or small statues which were carried before the corpse in a funeral procession.

Imbrex, R. A ridge-tile of semi-cylindrical form, and thus distinct from thetegula, which was a flat tile. It was calledimbrexfrom its collecting the rain (imber).Imbrex supinuswas the name given to a channel or gutter formed of ridge-tiles laid on their backs.

Imbrications.Architectural ornaments which take the form of fishes’ scales, or of segmental ridge-tiles (imbrices) which overlap; whence the name given to them.

Imbricatus, R. Covered with flat and ridge-tiles (tegulæandimbrices).

Imbrothered, O. E. Embroidered.

Imbrued, Her. Stained with blood.

Immissarium, R. (immitto, to send into). A stone basin or trough; any receptacle built upon the ground for the purpose of containing water supplied from thecastellum.

Fig. 395. Device of Philip and Mary. Arms of Tudor and Aragon Impaled (Rayonnant).

Impale, Her. To conjoin two separate coats of arms on one shield (as a husband’s and wife’s, &c.). The device of Queen Mary (Fig.395) is theimpalementof the double Tudor rose with the arms of Catherine of Aragon.

Impannata, It. Oiled paper.

Impasto, It. The thickness of the body of pigment laid on to a painting. Rembrandt, Salvator Rosa, and others used a thickimpasto; Raphael, Guido, and others, one extremely thin.

Imperial.Anything adapted by its excellence for royal uses, or distinguished in size, is generally so called. (1) O. E. A sort of precious silk, wrought partly with gold, used by royalty and for ecclesiastical purposes, brought to England from Greece in the 12th century. (2) The largest kind of slate for roofing. (3) Paper 27 inches by 23. (4) Sp. The roof of a coach; hence, in English, a trunk made to fit the top of a carriage. (5) Russian. A gold coin of 10 silver roubles.

Impluviata, R. A cloak of square shape and brown in colour, worn as a protection against rain.

Impluvium, R. (1) A cistern on the floor of the atrium in a Roman house, into which the rain was conducted. (2) The aperture in the roof of the atrium. (SeeDomus.)

Impost, Arch. The horizontal mouldings on a pillar, from which an arch is projected.

In antis, Arch. A name given to those temples, the pronaos or entrance porch of which was formed by two antæ or pilasters, and two columns. (SeeAntæ.)

Inauguratio, R. Generally the term applies to the ceremony by which the sanction of the gods was invoked upon any decree of man, such as the admission of a new member into a corporation or college, or the choice of the site of a theatre, city, or temple, &c.

Inaures, R. (auris, the ear; Gr.enotion). Ear-rings. Among the Greeks and Romans they were worn only by women. (SeeEar-rings.)

Incensed,Inflamed, Her. On fire. (SeeFoculus.)

Incisura, R. (incido, to cut). Hatchings made by means of a brush.

Incitega, R. A kind of tripod or stand for vessels rounded or pointed at the bottom.

Incle,Inkle. A sort of tape used as a trimming to a dress.

Incrustation.The word has a general signification, “a coat of one material applied to another.” Technically it should be applied to marble alone; thus a thin slab of marble isincrustedupon a body of slate or stone, metals areDAMASCENED, fused pigments areENAMEL, and woods areVENEERED.

Incubones, R. Genii who were supposed to guard treasure hidden under the earth.

Incunabula.(1) Swaddling clothes for infants. (2) Ancient specimens of printing are so called.

Incus, R. (incudo, to beat on). An anvil.

Fig. 396. Indented.

Indented, Her. One of the dividing and border lines. It resembles the teeth of a saw.

Fig. 397. Printed Calico (Indian) illustrating the treatment of flowers.

Indian Art.The study of the forms and principles of Indian Art is indispensable to an appreciation of the true principles of ornamental design in general. The excellence of Indian manufactures is due to the system of Guilds rigidly adhered to for ages, which has resulted in the production of a race of hereditary craftsmen unequalled for their skill and taste in execution and design. Their pottery is distinguished above all others for purity and simplicity of form, obvious fitness to purpose, and individual freedom of design. Its origin antedates the Institutes of Manu, and is lost in antiquity. Indian gold and metal work is supposed by Dr. Birdwood to owe its origin to Greek influence, but has acquired in its development a purely Oriental character. The Hindoos exhibit the greatest skill in the Oriental arts of damascening and enamelling, as well as in lacquer work and wood and ivory carving. All their designs are deeply symbolical, and closely interwoven with the primitive religious impulses of humanity. India was probably the first country in which the art of weaving was brought to perfection, and the fame of its cloudy gauzes and its gold and silver brocades is more ancient than the Code of Manu. The art is repeatedly mentioned in the Vedas. The purity of Indian Art is endangered in modern days by the introduction of machine-made goods and European design. (ConsultDr. Birdwood’s Handbook of Indian Art.)

Indian InkorChinese Ink. A black pigment for water-colour painting, made from oil and lamp-black, thickened with some vegetable gum, and scented with musk or camphor. Many cheap and poor imitations of it are made.

Indian Ochre.A red pigment. (SeeRed Ochres.)

Indian Paper.A delicate yellowish paper used for proof impressions in engraving. A Japanese paper of a similar quality is now frequently used.

Indian RedorPersian Red. A purple earth commonly sold under this name is the peroxide of iron. It is of a deep hue, opaque and permanent, and useful both in oil and water-colour painting; mixed with white it forms valuable flesh-tints. (Fairholt.) (SeeOchre,Amatita.)

Indian Rubber,Caoutchouc. An elastic gum; the sap of theSiphonia elastica, and several of the fig tribe in India and South America. It was brought into use early in the 18th century. In its natural state it is of a pale yellow brown.

Indian Yellow.A golden yellow pigment and dye, said to be procured from the urine of the cow, or else from camel’s dung. It is used in water-colour painting, but is not usually permanent. In some parts of the East it is calledPurree.

Indigetes(sc.Di), R. Indigenous gods. Heroes who were deified and worshipped as protectors of a place. The term is derived fromindeandgenitus, meaning born in that place. Æneas, Faunus, Romulus, &c., were indigenous gods.

Indigo.A deep blue pigment prepared from the leaves and branches of a small shrub; it is transparent, tolerably permanent, and mixes well with other pigments, forming excellent greens and purples. A deep brown, known asindigo brownand a deep red resin, known asindigo red, may be extracted by purifying the blue colour obtained from this dye. The old blue dye of the aboriginal Britons was produced fromwoad(isatis tinctoria). (Fairholt.) (SeeIntense Blue.)

Inescutcheon, Her. An heraldic shield borne as a charge.

Inferiæ, R. Sacrifices or offerings made at the tombs of the dead.

Infiammati.A literary society of Padua in Italy. Device: Hercules upon the funeral pile on Mount Œta. Motto: “Arso il mortal al ciel n’ andrà l’ eterno.”

Infocati.One of the Italian literary societies. Device: a bar of hot iron on an anvil, beaten by two hammers. Motto: “In quascunque formas.”

In Foliage, Her. Bearing leaves.

Infrenatus(sc.eques), R. A horseman who rides without a bridle (frenum), controlling his horse solely by the voice or the pressure of the knees upon its side. (Fig.282.)

Infula, R. A flock of red and white wool worn by priestesses and vestals and other Romans on festive or solemn occasions. In sacrificing also an infula was tied with a white band (vitta) upon the victim. Hence—

Infulæ, Chr. Ribands hanging from a bishop’s mitre.

In Glory,In Splendour, Her. The sun irradiated.

Inlaying.Inserting ornaments in wood-work for decorative furniture. (SeeBoule,Marquetry.)

In Lure, Her. Wings conjoined, with their tips drooping.

Inoa.Greek festivals in honour of Ino, esp. on the Corinthian Isthmus; they consisted of contests and sacrifices. (SeeMatralia.)

In Pretence, Her. Placed upon, and in front of.

Fig. 398. Peacock in pride.

In Pride, Her. Having the tail displayed, as a peacock’s. The illustration is the device of Joan of Castile: “A peacock, in his pride, upon the terrestrial globe.” (Fig.398.)

Insensati of Perugia.One of the Italian literary academies. Their device was a flock of cranes, arranged in order, flying across the sea, each with a stone in its foot and sand in its mouth. Mottoes, “Vel cum pondere” (even with this weight), or “Iter tutissimum,” in allusion to Pliny’s statement that the cranes used stones and sand forballast, “wherewith they fly more steadily and endure the wind.”

Insignia, R. (in, andsignum, a mark). Generally, any object which serves as a mark or ornament for distinguished persons; a ceremonial badge, a badge of office, &c. (SeeEnsigns.)

Insubulum, R. A weaver’s beam or roller, round which he rolled the cloth as it was made.

Insula, R. A house, or block of houses, having a free space all round them. [Under the emperors the worddomusmeant any house, detached or otherwise, where a family lived; andinsulameant a hired lodging.]

Intaglio, It. A stone in which the engraved subject is sunk beneath the surface, and thus distinguished from a cameo, which is engraved in relief.

Intaglio-relievato(It.), orcavo-relievo. Sunk-relief, in which the work is recessed within an outline, but still raised in flat relief, not projecting above the surface of the slab; as seen in the ancient Egyptian carvings.

Intense Blue.A preparation of indigo, very durable and transparent.

Intense Madder Purple.(SeeMadder.)

Intercolumniation, Arch. The space between two columns. This space varies according to the orders of architecture and the taste of the architect. According as the space is greater or less between the columns of a temple, the latter is calledaerostyle,eustyle,systyle, andpycnostyle. Generally speaking, in the monuments of antiquity, whatever be the intercolumniation adopted, the space comprised between the two columns which face the door of the building is wider than the intercolumniation at the sides.

Intermetium, R. The long barrier running down the arena of a circus between the two goals (metæ). (SeeMeta.)

Intermodillions, Arch. The space included between two modillions (projecting brackets in the Corinthian order). This space is regular, and often decorated with various ornaments. In the Romano-Byzantine and Renaissance styles, modillions are often united by arcades.

Intertignium, R. The space between the tie-beams (tigna) in the wood-work of a roof.

Interula, R. (interior, inner). An undertunic; a kind of flannel chemise worn by both men and women.

Intestinum(opus), R. (intus, within). The inner fittings or work of any kind in the inside of a house, and thence wood-work,Joinery.

Fig. 399. Part of the Façade of the Peruvian temple Inti-huasi.

IntiorPunchau, Peruv. The Sun or supreme god, inferior deities being calledconopaandcanopa. The temple of the Sun was calledInti-huasi(house of the Sun); it comprised seven principal divisions; theintior sanctuary, situated in the centre of the temple; the second division was calledmama-quilla, from the fact of its being dedicated to the moon, which was thus named; the third was dedicated to the stars, calledcayllur; the fourth to the thunder, and calledillapa; the fifth to the rainbow, and calledckuichi; the sixth division was occupied by the chief priest (huilacuma); the seventh and last division formed the dwelling of the priests.

Intronati of Siena.One of the Italian literary academies. Their device was a gourd for containing salt, with the motto, “Meliora latent” (the better part is hidden).

Iodine Scarlet(pure scarlet). A pigment more brilliant than vermilion, very susceptible to metallic agency.

Iodine Yellow.A very bright yellow pigment, very liable to change.

Fig. 400. Ionic capital. From the Erechtheium, Athens.

Ionic, Arch. One of the orders of Grecian architecture, distinguished principally by the ornaments of itsCapital, which are spiral and are calledVolutes, four in number. The IonicShaftis about nine diameters high, including theBase(which is half a diameter) and theCapital, to the bottom of the volute. ThePedestalis a little taller and more ornamented than the Doric. TheBasesused are very various. The Attic base is very often used, and, with anastragaladded above the uppertorus, makes a beautiful and appropriate base for the Ionic. TheCornicesare (1) plain Grecian, or (2) thedentilcornice, or (3) themodilloncornice. The Ionic shaft may be fluted in twenty-four semicircular flutes with fillets between them. The best Ionic example was the temple on the Ilissus at Athens. The temple of Fortuna Virilis at Rome is an inferior specimen. (See also Figs. 69, 184.)

Irish Cloth, white and red, in the reign of King John was much used in England.

Iron.Indian red,Venetian red,Mars red,Mars orange,Mars yelloware all coloured by iron (seeMars), and are valuable for their great durability. (SeeMetallurgy.)

Irradiated, Her. Surrounded by rays of light.

Iseia, Gr. and R. (Ἴσεια). Festivals in honour of Isis. Among the Romans they degenerated into mere licentiousness, and were abolished by the senate.

Iselastici Ludi, Gr. and R. Athletic contests which gave the victor the right of returning to his native city in a chariot (εἰσελαύνειν); whence the nameiselastici. These contests formed part of the four great games of Greece, viz. the Olympic, Pythian, Isthmian, and Nemean games.

Fig. 400 a. Isodomum opus.

IsodomosorIsodomum, Gr. and R. (ἰσόδομος, i. e. equal course). A structure built in equal courses, that is, in such a way that the surface of each stone is of one uniform size, and that the joints of one layer are adjusted with those of another so as to correspond symmetrically.

Isokephaleia(Gr.ἴσος, equal;κεφαλὴ, head). A rule in Greek sculpture by which the heads of all the figures on a bas-relief were of the same height from the ground.

Isometrical Perspective, used for representing a bird’s-eye view of a place, combines the advantages of a ground-plan and elevation; only the lines of the base are made to converge, leaving the whole figure cubical, and without the expression ofdistancefrom the point of sight.

Ispahan Tiles, of the period of Shah-Abbas—16th century—are remarkable for exquisite design.

Italian Earth.BurntRoman ochre; resembles Venetian red in colour; and, mixed with white, yields valuable flesh-tints. (Fairholt.)

Italian Pink, oryellow lake. A transparent bright-coloured pigment, liable to change. (SeeYellow Lake,Pinks.)

Italian Varnish.A mixture of white wax and linseed oil, used as a vehicle in painting. It has good consistency, flows freely from the pencil, and is useful for glazing.

Ivory Black.A pigment prepared by heating ivory shavings in an iron cylinder; when from bone, it is calledbone black(q.v.). The real ivory black is a fine, transparent, deep-toned pigment, extremely valuable in oil and water-colour painting. Thebone black(commonly sold asivory black) is much browner.

Fig. 401. Ivory carving. Sword-hilt of the 16th century.

Fig. 402. Ivory carving. Spoon of the 16th century.

Ivory Carving.This art, in considerable perfection, was known to prehistoric man at the period of the so called stone age. Egyptian and Assyrian specimens of the art are of a date at least as early as that of Moses. From the year 1000B.C.down to the Christian era, there was a constant succession of artists in ivory in the western Asiatic countries, in Egypt, in Greece, and in Italy. From the time of Augustus, ivory carving shared in the general decline of art. Increasing in number as they come nearer to the Middle Ages, we can refer to carved ivories of every century, preserved in museums in England and abroad. The most important ivories up to the 7th century are the consulardiptychs, originally a favourite form of presents from newly-appointed consuls to eminent persons; subsequently adapted to Christian uses, or as wedding presents, &c. In the Middle Ages, from the 8th to the 16th century, the use of ivory was adopted for general purposes. The favourite subjects of the carvings are those drawn from the romances of the Middle Ages—especially the romance of the Rose—and in the 15th century, scenes of domestic life, illustrating the dress, armour, and manners and customs of the day. Combs of every date, from the Roman and Anglo-Saxon period, and earlier, are found in British graves. In short, from the time when the first prehistoric carvings of antediluvian animals were made to the present, every age of human civilization appears to be more or less fully illustrated in carvings upon ivory and bone. (See alsoChessmen.) The earliest material was found in the tusks of the mammoth: from Iceland we have beautiful carvings of the 7th century in the teeth of the walrus. Fossil tusks of the mammoth are found in great quantities in Siberia, and are almost the only material of the ivory-turner’s work in Russia. African and Asiatic elephant ivory are the best, and differ, the former, when newly cut, being of a mellow, warm, transparent tint. Asiatic ivory tends to become yellow by exposure. A fine specimen of carving in ivory is given in Fig.403from aMirror-caseof the 15th century. (See also Fig.185, and illustrations toPyx,Triptych, &c.)

Fig. 403. Ivory carving, 15th century.

Ivy, Chr. The symbol of eternal life.

Iwbwb, Celt. The ancient military cry, which has given name to many places; as Cwm Iwbwb, in Wales, the Jujupania of Ptolemy. (Meyrick.)

Izeds, Persian. Beneficent genii of the mythology of Zoroaster. Ormuzd, the supreme god, created twenty-eight of them to be the attendants of theamchaspands.

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