91. See also IN LURE.)

=Lusiad.= The great epic of the Portuguese poet Camoens. =Lustratio= (Gr. κάθαρσις). A purification, originally by water, afterwards by solemn ceremonies of sprinkling, or the smoke of sacrifice; made privately after deaths or accidental pollutions, and publicly on the occasion of public disasters, prodigies, or the like; and at certain fixed periods, especially at the close of every _lustrum_. =Lustricus= (sc. _dies_), R. (_lustrum_, a lustration). The day of purification for a new-born infant, when it received its name. =Lustrum=, R. (_luo_, to wash). A solemn purification performed by the censors on laying down their office, that is to say, every _five years_; whence the term was used to denote that space of time. =Lute= (Arabic, _el oud_). A stringed instrument of great antiquity, first mentioned in Persia in 682 A. D. Before the 10th century the lute had only four strings, or four pairs producing four tones, each tone having two strings tuned in unison. About the 10th century a string for a fifth tone was added. The strings were made of silk neatly twisted. The neck of the instrument was provided with frets of string, regulated according to the system of seventeen intervals to an octave. The Chinese god of music is represented playing on a lute with four strings. The lute was very popular in England in Elizabeth’s time. Originally it had eight catgut strings, arranged in four pairs, each pair being in unison. The number of strings varied from time to time, and in the 17th century they were twenty-four. The size of the lute also varied; the treble lute was the smallest, and the bass lute the largest. There were also the ARCHLUTE, the CHITARRONE, THEORBO, &c. (Consult Thomas Mace’s _Musick’s Monument_, 1676.) =Lycæa.= A festival of the Arcadians in honour of Zeus Λυκαῖος. =Lyceium.= A sacred enclosure at Athens, dedicated to Apollo Lycius, where the _polemarch_ originally held his court. It was decorated with fountains, plantations, and ornamental edifices by Peisistratus, Pericles, and Lycurgus. Here Aristotle delivered his lectures, as he _walked about_ with his followers, hence called “_Peripatetics_.” [Illustration: Fig. 436. Lychnus.] =Lychnus=, =Lychnuchus=, R. (λύχνος, λυχνοῦχος). The former of these terms is of by far the most frequent occurrence. It denotes a kind of lantern or candlestick made to support oil lamps (_lucernæ_). Fig. 436 represents a lychnus supporting three _lucernæ_. =Lydian.= _Of music_, soft and slow; _generally_ effeminate. =Lydian Stone= (_Lydius lapis_ or _Heraclius lapis_) was a kind of flinty slate used by the ancients as a touchstone for the trial of gold and silver. [Illustration: Fig. 437. Lymphad.] =Lymphad=, Her. An ancient galley, the feudal ensign of the house of Lorn, and as such quartered by the Dukes of Argyle. It is borne also by the Prince of Wales as “Lord of the Isles.” (Fig. 437.) =Lynx Sapphire.= A lapidary’s term for dark-grey or greenish-blue varieties of the sapphire. =Lyon King at Arms.= The Scotch Herald, Lord Lyon. The regalia of this officer are, a crown of gold, with a crimson velvet cap, &c.; a velvet robe reaching to his feet, with the arms of the kingdom embroidered thereon, both before and behind, in the proper tinctures; a triple row of gold chains round his neck, with an oval gold medal pendent thereto, on one side of which is the royal bearing, and on the other St. Andrew with his cross enamelled in proper colours, and a baton of gold enamelled green, powdered with the badges of the kingdom. =Lyra=, Gr. and R. (λύρα). A lyre; a stringed instrument which assumed various forms. On Assyrian monuments the lyre occurs in three different forms, and is held horizontally in playing. Its front bar was generally either oblique or slightly curved. It was played with a _plectrum_ or with the fingers. The HEBREW lyre is represented on coins of Judas Maccabæus. Some have three strings, others five, and others six. The two sides of the frames appear to have been made of horns of animals. The Hebrew square-shaped lyre is probably the PSALTERION, the KINNOR, a lyre of triangular shape, the instrument of King David, is named in the Bible as the oldest stringed instrument, the invention of Jubal. The Rabbis record that King David used to suspend his over his pillow at night. On Egyptian monuments, at Beni Hassan, a Hebrew lyre is represented, probably of the date of Joseph, 1700 B.C. The GREEKS had lyres of many kinds, distinguished by different names; LYRA, a generic term, and also the lyre oval at the base, to be held in the lap; KITHARA, with a square base, to be held against the breast; CHELYS, a small lyre with body made of tortoise-shell; PHORMIX, a large lyre, &c. Some lyres have a bridge, others have none; the largest were probably held on or between the knees, or were tied by a band to the left arm. The strings of catgut or sinew were twanged with a _plektron_ or short stem of ivory or metal, pointed at both ends. The lyre was the most favourite instrument of the ROMANS, under various names. The CORNU had a frame ending at the top in two long horns; the BARBITOS was a lyre with a large body; the PSALTERIUM was of an oblong square shape, &c. The lyre is represented in early CHRISTIAN monuments of the 4th century. In one of them the Saviour is represented as Apollo touching the lyre. ANGLO-SAXON MSS. of the 9th century also represent the lyre. A GERMAN fiddle of the 9th century, with only one string, is called _lyra_ in the MS. In Christian symbolism the lyre represented “the attractive power of the Lord.” (See MESE.) =Lysis=, Arch. A plinth, or step above the cornice of the _podium_ which surrounds the PEDESTAL. M. =M-roof=, Arch. A roof formed by the junction of two common roofs, with a valley between them. =Macabre.= (See DANCE OF DEATH.) =Macaronic Verses.= A burlesque of Latin, chequered with Italian, Tuscan, and plebeian words, described by the author:— “Ars ista poetica nuncupatur Ars Macaronica, a Macaronibus derivata; qui Macarones sunt quoddam pulmentum, farina, caseo, butyro compaginatum, grossum, rude et rusticanum. Ideo Macaronica nil nisi grossedinem, ruditatem, et _Vocabulazzos_ debet in se continere.” =Macchia=, It. (lit. a spot or stain). “The blocking out of the masses of light and shade.” (See _Eastlake’s Materials_, &c., ii. 355.) =Mace= (Fr. _masse_ or _massue_). A military club or staff, generally of iron with a wooden handle, useful for breaking defensive armour. The mace was generally worn at the saddle-bow; and was subsequently perforated to form a pistol, and finally superseded by the pistol. In the Middle Ages the mace became an emblem of office; and is so still—usually surmounted by a crown. (See CLAVA, CLUB.) =Macellarius=, R. (_macellum_, a market). A keeper of a shop for the sale of fruit and cooked provisions. His shop was called _taverna macellaria_. =Macellum=, Gr. and R. (μάκελλον). A covered market in which were sold all kinds of provisions, such as fish, poultry, and game; it was distinct from the open market called FORUM (q.v.). [Illustration: Fig. 438. Maceria.] =Maceria=, R. (1) A rough wall formed of materials of every description, and having no _facing_. (2) An enclosed place unroofed. (Fig. 438.) =Machæra=, Gr. and R. (μάχαιρα). A sword with only one edge, made rather for cutting than thrusting. =Machærium=, Gr. and R. (μαχαίριον). Dimin. of _machæra_, a knife employed chiefly by fishermen. =Machærophorus=, Gr. and R. (μαχαιρο-φόρος). Literally, _armed with the hunting-knife_, the _machærium_; an epithet of the so called _barbarous_ nations, such as the Egyptians, Persians, Medes, Thracians, and Gauls. =Machicolated=, Arch. Furnished with machicolations. =Machicolations= (Fr. _machicoulis_), Arch. Openings or grooves made under the parapet of a fortified place, through which stones, pitch, boiling water, or hot sand were thrown down. =Macrochera=, Gr. (μακρό-χειρ, long-armed). A tunic with long sleeves, called by the Romans CHIRIDOTA. =Macrocolum=, =Macrocollum=, R. Paper of the largest size, that is to say, in sheets formed of a number of pieces of parchment or papyrus glued together. =Macula=, R. The mesh of a net; in the plural _maculæ_. =Madder.= The root of “rubia tinctoria” (Fr. _garance_), from which a number of valuable pigments are made, which are transparent and permanent, working equally well in oil and in water-colours. They vary from the lightest and most delicate rose to the deepest purple, and are known as _rose madder_, _pink madder_, _madder-carmine_, _purple madder_, _brown madder_, _intense madder purple_, and _orange madder lake_. =Madonna=, It. The Virgin Mary. (See JOYS.) =Mæander=, Gr. (Μαίανδρος). An ornamental design so called from the numerous windings it described, like the river _Mæander_. Its proper name is the GREEK FRET. (Figs. 334 to 336.) =Mælium.= (See MELIUM.) =Mæmacteria=, Gr. (μαιμακτήρια). Festivals held at Athens in honour of the boisterous or stormy Zeus (Μαιμάκτης), with the object of obtaining a mild winter. =Mænad=, Gr. (μαινάς). Literally, a frenzied woman, and thence a bacchante. (See BACCHA.) =Mænhir.= (See MENHIR.) =Mænia Columna=, R. A column situated in the Roman forum, near which certain magistrates (_triumviri criminales_) judged criminals, slaves, and vagrants. =Mæniana=, =Mænianæ Scholæ=, R. Celebrated schools of Gaul founded by Augustus at Autun (_Augustodunum_ or _Bibracte_), so called because the buildings were furnished with balconies (_mæniana_). (See MÆNIANUM.) =Mænianum=, R. A structure supported on corbels; a balcony projecting from the wall of a house; in a theatre or amphitheatre, one range of seats comprised between two landing-places (_præcinctiones_). Originally a balcony erected round the Roman forum, B.C. 318, to give accommodation to the spectators of gladiatorial contests. Afterwards balconies in general were so called. =Maes=, Celt. A Welsh word for a field of battle, common in topographical nomenclature. =Mafil.= (See MAHFIL.) =Mafors= or =Mavors= (Gr. μαφώριον) was a short veil covering the head and neck and flowing down on the shoulders, such as nuns wear in imitation of the Virgin Mary. =Magadis=, Gr. (μάγαδις). A musical instrument invented by the Lydians; it was a kind of harp, which changed its form and was afterwards called SAMBUCA (q.v.). (See LYRA.) =Maghreb Pottery.= (See GARGOULETTE.) =Magi.= The adoration of the Magi (commemorated on Christmas Day) is the subject of some of the earliest specimens of Christian art. A fresco in the catacomb of St. Agnes, representing the Magi before Herod, is attributed to the 2nd century, and the mosaics of St. Maria Maggiore at Rome, in which the same subject occurs, are of the 5th century. =Magnase Black.= A colour which dries rapidly when mixed with oil, and is of intense body. =Mahfil=, Arab. A raised seat in a mosque, for the _imaum mocri_ who reads the Koran, and for the _imaum khatib_, who recites prayer, preaches, and acts as the minister of the services generally. =Mahl-stick.= A stick with a pad at the end, upon which the painter rests the wrist of his right arm while working. =Mahogany.= Wood of the _Swietenia mahogoni_ of Jamaica and Honduras. Satin-wood, or green mahogany, is the _Chloroxyllon_; mottled, or African mahogany, is the _Khaya_; Indian mahogany is the _Cedrela toona_. =Mahoitres=, O. E. The name of a singular fashion of the 15th century—“of prankyd gownes, and _shoulders up set_, moss and flocks sewed within”—of padding up the shoulder to give a broad appearance to the chest. (See Figs. 51, 355, and 469.) =Mail= (from the Fr. _maille_, the meshes of a net). Applied to chain or ringed armour. “Rich _mayles_ that ronke (_strong_) were and round.” =Mainefaire=, O. E. The covering for a horse’s _mane_. It was made of overlapping plates, like a lobster’s tail; and was fastened to the _testière_ by buttons, and round the animal’s neck by straps. (_Meyrick._) =Maintenance, Cap of=, Her. (See CHAPEAU.) [Illustration: Fig. 439. Majolica Plate (Urbino Ware).] =Maiolica= or =Majolica=. The Italian name for the glazed earthenware introduced by Moorish potters from the island of Majorca. Originally these terms were only applied to “_lustre wares_,” but from the 16th century they were generally applied to the _glazed earthenware_ of Italy. A coarser lead-glazed lustred ware was known as mezza-majolica. The distinguishing characteristics of the Majolica ware are “coarseness of ware, intricacy of pattern, and occasionally prismatic glaze.” It is also named FAIENCE, from the _botega_ at FAENZA, and, when decorated with subjects after designs of Raphael, “Raffaelle-ware.” FAYENCE, _terraglia_, as distinct from PORCELAIN, is formed of potter’s clay (hence its English name Pottery) mixed with marl and sand, and is _soft_ or _hard_ according to the nature of the composition, and the degree of heat under which it is fired in the kiln. English _earthenware_ is soft, while _stone-ware_, _Queen’s ware_, &c., are hard. Soft wares are either unglazed, or _lustrous_, or _glazed_, or enamelled. The Italian lustrous ware is properly, and the glazed ware improperly, but generally called MAJOLICA. =Majesty= (It. _Maesta_), Chr. A conventional representation of the Saviour in glory, on a throne, encompassed by a _nimbus_, and surrounded by cherubim, and the four evangelistic symbols, and the letters Α and Ω. “The only existing document relating to Cimabue shows that he was employed in 1301 on a mosaic ‘Majesty’ in the tribune of the Duomo at Pisa.” (_Eastlake._) =Mala Pioba.= Irish (_mala_, a bag). The bagpipe. =Malachite.= A native carbonate of copper, forming a beautiful and permanent green pigment, used for oils and water-colours. _Incrusted_ upon other materials it is used for articles of ornament. _Blue_ malachite is pure carbonate of copper; _green_ malachite is green carbonate of copper; _emerald_ or _royal_ malachite is dioptase of copper, a still rarer green and the best of all, which is a mixture of copper and silica; _false_ or _pseudo_-malachite is phosphate of copper, soft and silky, and of a rich velvet green marred by black spots or lines, and not so rich as the three kinds of true malachite. =Malchus=, R. An old term for a confessional having only one stool for penitents; it signified that which has only one ear, from the fact that Malchus, Caïaphas’ servant, was deprived of his right ear by Peter. =Malleability.= The property of extension under the hammer (_malleus_). _Gold_ is the most malleable of metals. The art of rendering _glass_ malleable was discovered by an architect in the reign of Tiberius. Buried treasures of glass vessels have been found to be malleable when first disinterred, but to harden quickly on exposure to the air. =Malleus=, R. (1) A hammer. (2) Med. The MAULE (Gothic _Miölner_), Thor’s hammer; a military weapon. =Malluvia, Malluvium.= R. A wash-hand basin. [Illustration: Fig. 440. Malus of an Amphitheatre.] =Malus=, R. (_malus_, an apple-tree). (1) The mast of a vessel. (2) In theatres and amphitheatres (Fig. 440) _mali_ were the poles over which the _velarium_ was stretched. =Malveisin=, Med. (Fr. _malvoisin_, a disagreeable neighbour). A military engine for projecting stones or arrows. =Mama-quilla=, Peruv. One of the divisions of the temple of the Sun, INTI (q.v.); so called because it was dedicated to the moon, _Mama-quilla_. =Mamillare=, R. (_mamilla_, the breast). (1) A broad band made of soft leather, a kind of small stays, used by the Roman ladies to support the breasts. (2) In Mediæval Latin, circular plates on the surcoat with rings from which two chains depended, one of which was attached to the sword and the other to the sheath. The fashion was introduced under Edward I., and continued until Henry V. =Mancop Oly=, Dutch. Poppy oil, “a very white oil used by the painters in the Netherlands, who execute delicate works requiring lively colours, such as the vases of flowers of De Ghein, &c.” (_Eastlake._) =Mandorla=, Chr. (lit. an almond). (See AUREOLE and VESICA PISCIS.) =Mandra=, Chr. (lit. _a fold_). A favourite appellation for monastic establishments in the East. =Manducus=, R. (_mando_, to chew). A comic masked character, distinguished by his ugliness and _voracity_ (whence his name). (See PERSONA.) =Mandyas=, Chr. In the Greek Church, an outer garment worn by monks. It is a long cloak, reaching almost to the feet, and fastened at the throat. It is originally a Persian dress, and is frequently mentioned as worn by emperors and kings. =Manefaire=, O. E. A covering of armour for a horse’s _mane_. =Manes=, R. The shades of the dead. (See LEMURES.) =Manganese Brown.= A rich semi-opaque brown pigment, permanent and drying well. (See CAPPAGH.) =Manger=, Chr. The boards of the manger in which the Infant Saviour was laid, are said to be preserved in the crypt of the church of St. Maria Maggiore at Rome. They are called the _culla_, and are the object of a solemn procession on Christmas Eve. =Mangonell=, Med. A military machine for hurling stones; the spelling is frequently varied:— “Vous peussez bugles, mangoniaux Veoir pardessus les carniaux.” (_Roman de la Rose._) =Manica=, R. (_manus_, a hand). (1) An armlet, or piece of armour which protected the arm of the gladiator. (2) A leather glove worn by barbarous nations. In the plural, _manicæ_ denotes (1) manacles; (2) a grappling-iron called HARPAGA (q.v.). [Illustration: Fig. 441. Manicore.] =Manicora=, =Manicore=, Chr. In Christian iconography, the manicora is a hybrid animal with a human head, and a globular body ending in a serpent. It is a symbol of the World, the Flesh, and the Devil. (Fig. 441.) =Maniple=, Chr. A short stole held in the left hand, originally used as a napkin by the officiating priest. Afterwards it was worn pendent from the wrist, and richly decorated. (See FANON.) The word is derived from— =Manipulus=, R. (lit. a handful). (1) A maniple, the earliest ensign of the Roman legion; it consisted of a handful of hay attached to the end of a pole. (2) A body of infantry in a legion, consisting of about 180 to 200 men. =Mansard Roof=, Arch, (so called from _Mansard_, the French architect, who introduced it), or =Curb Roof= (from the French _courber_, to bend). A roof with two sets of rafters, of which the upper part is, as it were, broken off, and not so steep as the lower. According to _Mesanges_, Mansard took the idea of his roof from a frame composed by Segallo, and Michael Angelo employed it in the construction of the dome of St. Peter’s. The houses in Lower Brittany were covered with these roofs in the end of the 15th century. =Manse=, O. E. The parsonage-house. =Mansio=, R. (_maneo_, to remain). Stations placed at intervals along the high roads, to serve as halting-places for the troops on a march. (See MUTATIO.) =Mantapa=, Hind. A _porch_ to a temple. =Mantel-piece=, Arch. (formerly _mantil_). A cloak or covering; hence the slab which covers a part of the fireplace; the canopy over a shrine (Latin _mandualis_). =Mantelet= or =Mantlet=. A shed used for protecting soldiers from missile weapons. (See PLUTEUS.) =Mantica=, R. (_manus_, the hand). A double wallet serving as a portmanteau for riders or pedestrians. =Mantle.= A flowing robe worn over the armour, as shown in the costume of the knights in the ivory mirror-case. (Fig. 463.) =Mantling= or =Lambrequin=. A small mantle, of some rich materials, attached to the helmet, and worn hanging down, and ending in tassels. (See Fig. 177.) It is usually represented, in Heraldry, with jagged ends, to represent the cuts it would be exposed to in actual battle. =Manuale=, R. (_manus_, the hand). A wooden case for a book. =Manuballista=, R. A hand-ballista. (See ARCUBALLISTA.) =Manubrium=, R. (i. e. what is borne in the hand). A general term for a handle of any kind. (See Fig. 377.) =Manus Ferrea=, R. Literally, a _hand of iron_; an iron hook which served as a grappling-iron, differing from the _harpaga_, as it was launched at the end of a chain, while the _harpaga_ was fixed on a long beam (_asser_). =Marble.= The finest for statuary, from _Carrara_, is of a pure white; that from _Paros_ is of a waxy cream colour; others coloured with metallic oxides are available for ornamental purposes. Many cements have been produced as “artificial marble.” (See SCAGLIOLA.) =Marble Silk= had a weft of several colours so woven as to make the whole web look like _marble_ stained with a variety of tints. On the 6th of November, 1551, “the old qwyne of Schottes rod thrught London; then cam the lord tresorer with a C. great horsse and ther cotes of _marbull_.” Its use prevailed for three centuries. =Marbling= “is an art which consists in the production of certain patterns and effects by means of colours so prepared as to float on a mucilaginous liquid. While so floating they form into patterns, which are taken off on to a sheet of paper (for book-covers), or to the smoothly cut edges of a book, by dipping.” (_Woolnough_, _The Whole Art of Marbling_, 1881.) =Marcus=, R. A blacksmith’s hammer; a sledge-hammer. (See MALLEUS.) =Mardelles=, =Margelles=, or =Marges=, Celt. Excavations met with in several parts of Europe, supposed to be Celtic. =Mark=, O. E. An ancient coin, value 13_s._ 4_d._; formerly the equivalent of 30 silver pennies. =Marmouset=, Arch. Fr. (monkey). A grotesque figure introduced into architectural decoration in the 13th century. =Marouflage=, Fr. (_maroufler_, to line). A method of house-painting in France, upon a lining of prepared canvas fixed upon the surface to be decorated. [Illustration: Fig. 442. Marquess’s coronet.] =Marquess=, =Marquis=, Her. The second order of the British peerage, in rank next to that of duke, was introduced into England in 1387 by Richard II. The coronet, apparently contemporary in its present form with that of the dukes, has its golden circlet heightened with four strawberry-leaves and as many pearls arranged alternately. [Illustration: Fig. 443. Shaft ornamented with Marquetry.] =Marquetry.= Inlaid-work of ornamental woods and stones of various colours put together and mixed with metals. The art has existed from the earliest ages; but no nation has brought it to a higher degree of perfection than the Italians of the 15th century. The Florentines especially have produced work of this kind which is unapproached; the Medici chapel at Florence may be particularly instanced. Figs. 443 and 444 represent specimens of antique work. The Venetian marquetry, derived from Persia and India, is a fine inlay of ivory, metal, and woods, stained to vary the colour. This work is in geometric patterns only. In France, in the early marquetry designs, picturesque landscapes, broken architecture, and figures are represented. Colours are occasionally stained on the wood. Ivory and ebony are the favourite materials. In England, it is an art imported from Holland in the reign of William and Mary. The older designs on Dutch marquetry represent tulips and other flowers, foliage, birds, &c., all in gay colours, generally the self colours of the wood used. Sometimes the eyes and other salient points are in ivory and mother-of-pearl. (Compare BOULE, CERTOSINA WORK, EMBLEMATA, MUSIVUM OPUS, REISNER-WORK, &c.) [Illustration: Fig. 444. Marquetry.] [Illustration: Fig. 445. Marra.] =Marra=, R. A kind of hoe with indented teeth, used for tearing up weeds. (Fig. 445.) =Mars Brown.= A brown pigment. =Mars= (=Reds=, &c.). Calcined earths of which the brightness of the redness is regulated by the duration of the roasting. [Illustration: Fig. 446. Teapot of Marseilles faience.] =Marseilles Faience.= This ancient city has at all times been celebrated in the ceramic arts. Fig. 446 gives a representative specimen of modern polychrome work, decorated with flowers easily recognized by the disposition of their long stalks. These flowers are, in other specimens, accompanied by marine landscapes. Other polychrome services are called from their designs “services aux insectes.” =Marsupium=, R. (μαρσύπιον). A purse for containing money; it was made of leather and shaped like a pear, being confined at the top with a string. (Hence the adjective _marsupial_ applied to the kangaroo, &c.) =Martel de Fer=, Med. A weapon which had at one end a pick, and at the other a hammer, axe-blade, half-moon, mace-head, or other fanciful termination. (_Meyrick._) [Illustration: Fig. 447. Early Heraldic Martlet.] [Illustration: Fig. 448. Heraldic Martlet.] =Martlet=, Her. Bird, usually represented without feet. (Figs. 447, 448.) =Martyrium=, Chr. An altar erected over the tomb of a martyr. [Illustration: Fig. 449. Il Marzocco, the bronze Lion now in the Bargello at Florence. By Donatello (about A. D. 1420).] =Marzocco=, It. The Lion of Florence. The heraldic emblem of the city. (Fig. 449.) [Illustration: Fig. 450. Etruscan Mask in terra-cotta.] =Mascaron=, Arch. Fr. A mask; the face of a man or animal employed as an ornamentation for decorating the key-stones of arches or vaults, or the stones of an arch, &c. (Fig. 450.) =Mascle=, Her. The central _lozenge_ of a diapered surface; it is drawn with right angles. =Maser= or =Mazer=, O. E. A bowl of maple-wood. The name is applied to similar bowls or goblets of other woods. “The mazers four, My noble fathers loved of yore,” are mentioned by Scott in “The Lord of the Isles.” They were richly ornamented, frequently with legends on the rim, such as “In the name of the Trinitie Fille the kup and drinke to me,” and the rim was often covered with silver or gold. =Massicot.= The name of an ancient pigment of a dull orange colour. =Mastaba=, =Mastabê=, Egyp. An outer chapel attached to Egyptian burial-places; it was generally a small quadrangular building, the door of which faced the East. =Master Arch=, O. E. The central or widest arch of a bridge. =Mastic.= A resin used for varnish. (Dissolve one part of mastic resin in two of oil of turpentine.) (See VARNISH.) In France, the term is applied to a cement used to fill up joints in masonry; in _joinery_, to a composition of wax, resin, and pounded brick, applied to fill up knots and chinks in the wood. Putty is also so called. =Mastigophorus=, Gr. and R. (μαστιγο-φόρος). A slavedriver, and thence an officer who fulfilled the same functions as our policemen. The mastigophori were so named because they carried a whip (μάστιγα φέρειν), in order to put down any crowding or tumult; it was also part of their duty to repress any infringement of the regulations at the public games. =Match-lock.= A gun which was exploded by means of a match, before the