1861. The INSIGNIA are the _Badge_ (Fig. 171); _collar_ of heraldic

roses and lotus-flowers alternating with palm-branches, a crown being in the centre; _ribbon_ of pale blue with white borders, crossing the left shoulder; and _star_ of diamonds, having a mullet upon an irradiated field in its centre, with the motto “Heaven’s Light our Guide.” [Illustration: Fig. 626. Heraldic Stars.] =Stars=, Her. (See ESTOILE, MULLET.) =Stars=, Chr. Emblematic of the canopy of Heaven, are generally represented on the domed ceilings of churches. These were usually forged in metal and fixed on to an azure ground. They are attributes of the Virgin Mary as queen of heaven, and of St. Dominic and other saints. [Illustration: Fig. 627. Star-moulding.] =Stars=, =Star-moulding=, Arch. An ornament of the Romano-Byzantine period, in the shape of a star with four rays only. (Fig. 627.) It is met with as a decoration in various mouldings. [Illustration: Fig. 628. Statera.] =Statera=, R. A steelyard or Roman balance, of much later invention than the scales called _libra_. It consisted (Fig. 628) of a rod or yard (_scapa_), divided by equidistant points (_puncta_), and was suspended by means of a handle (_ansa_) consisting of a hook or chain. The weight (_æquipondium_) forms a counterpoise to any object suspended from one of the hooks or the scale (_lancula_). (Fig. 418.) The term is sometimes looked upon as a synonym of LIBRA (q.v.). It denotes besides (1) a wooden bar or yoke placed across the withers of a pair of horses harnessed to a BIJUGUS (q.v.); (2) a plate or dish, probably of circular form. =Statuettes.= Small statues in bronze or porcelain for the decoration of rooms. For =Porcelain Statuary=, consult Jacquemart’s _History of the Ceramic Art_. =Stauracin= (Gr. σταυρὸς, a cross) was a silken stuff figured with small plain _crosses_; hence _polystauron_, having many crosses. =Steatite= or =Soapstone=. A soft, unctuous, magnesian mineral, used by the Chinese for statuary and decorative purposes. =Steel, Engraving in=, was invented during the present century. The process is nearly the same as engraving in copper. (See CHALCOGRAPHY.) =Stega=, Gr. and R. (στέγη, i. e. a covering). The deck of a ship; a synonym for CONSTRATUM (q.v.). =Steganography=, Gr. (στεγανὸς, secret). Cypher, or secret writing, by substitution of signs for letters. [Illustration: Fig. 629. Steinkerque.] =Steinkerque= was a twisted necktie, and owed its origin to the battle of that name fought in 1692 by Marshal Luxembourg against William of Orange. When the French princes were suddenly ordered into action, hastily tying their cravats—in peaceful times an elaborate proceeding—they rushed to the charge and gained the day. In honour of this event ladies also wore their lace neckerchiefs twisted in this careless fashion. Steinkerques became the rage, and were worn in England and France by men and women for many years afterwards. The engraving represents the Grand Dauphin of France wearing a Steinkerque. [Illustration: Fig. 630. Greek Stelè.] [Illustration: Fig. 631. Roman Stela.] =Stela=, =Stelè=, Gr. A pillar, or stone of a cylindrical or quadrangular shape, often surmounted by an ornament in the form of a palm. These _stelæ_ served to mark out burial-places. Fig. 631 represents a Roman, and Fig. 630 a Greek stelê. =Stemma=, Gr. and R. (στέμμα, i. e. that which crowns). Among the Greeks this term served to denote a wreath bound round with woollen fillets; among the Romans the same term denoted a long roll of parchment ornamented with garlands. This roll contained the genealogy of the family. _Stemmata_ were hung upon the busts of ancestors, and in front of the _imagines majorum_. =Stencil.= A plate of any material in which patterns have been cut out. The use of stencil plates is of great antiquity. They were used in the schools of ancient Rome to teach writing, and by the emperors for affixing their sign manual to documents. =Stereobate.= The base of a plain wall. (See STYLOBATES.) =Stereochromy.= A new method of wall painting, with water-colours sprinkled over with fluoric acid, adapted permanently to resist all the influences of climate. =Stereo-graphy= (στερεὸς, solid). Geometrical drawing of solids on a plane surface. =Stereoscope.= A binocular glass, arranged in conformity with the natural convergence of the sight of each eye to a focal centre. An object is photographed twice, as it would appear to each eye if the other were closed; and when the two pictures are looked at together in the stereoscope, an effect of rounded solidity (_stereon_) is produced. The effect is particularly beautiful in photographs of statues. =Stereotype.= Solid type, obtained from a cast of the forme of movable type, for permanent use in printing works of which many editions are required. =Steyre=, O. E. A stair. =Stiacciato=, Ital. Sculpture in very low relief, less than _basso-relievo_. =Stibadium=, Gr. and R. (στιβάδιον). A circular dining-couch generally made of wicker-work. Another name for it was SIGMA. =Sticharium=, Chr. (στιχάριον). A white tunic worn by the Greek bishops and deacons in certain ceremonies. =Stigma=, R. (στίγμα, lit. a mark by pricking). A mark, impression, or brand. Thieves were branded with the letter F, which stood for _fur_, thief. A _stigma_ tattooed on the arm was the mark by which conscripts were declared capable of military service, &c., hence =Stigmata=, Chr. The marks of the five sacred wounds on the hands, feet, and side of Our Lord; said to have been miraculously printed on the persons of saints. =Stil de grain.= (See PINKS.) =Still Life.= Inanimate objects. =Stilted Arch.= One having the capital or impost mouldings of the jambs below the level of the springing of the curve, the moulding of the arch being continued vertically down to the impost mouldings. =Stilus=, =Stylus=, R. A style, or instrument of bone, ivory, iron, bronze, or silver, about five inches long, having one end pointed, and the other flattened like a spatula; the latter served either to spread the wax on the writing-tablet, or to erase by smoothing down what had been written upon it; the other and pointed end served for writing upon the wax-covered tablet. The term also denoted (1) the needle or index of a sun-dial; (2) a bronze needle; (3) a probe employed for garden purposes. (4) A sharp stake in a pitfall. It was also called _graphium_. =Stimulus=, R. (στίζω, to prick). A goad for driving cattle. =Stipple.= Etched imitations of chalk drawings of the human figure, called _engravings in stipple_, have a very soft effect, but are inferior to engraving. In this variety the whole subject is executed in dots without strokes on the etching-ground, and these dots are bitten in with aquafortis. The dots may be harmonized with a little hammer, in which case the work is called _opus mallei_. In the method known as _mezzo-tinto_, a dark _barb_ or ground is raised uniformly by means of a toothed tool; and the design being traced, the light parts are scraped off from the plate by fitting instruments, according to the effect required. (See ENGRAVING.) =Stips=, R. A small bronze coin, equal to the twelfth part of an _as_, or about a quarter of a farthing; it bore on the reverse the prow of a vessel. =Stocheion=, Gr. A form of sun-dial. (See HOROLOGIUM.) =Stockings= were introduced into England with knitting in 1501, when Queen Elizabeth was presented with a pair of black knit silk stockings by her tirewoman, and immediately discontinued the cloth hose she had previously worn. The Scotch claim the invention of knitting, and a French company of stocking-knitters established at Paris in 1527 took for their patron St. Fiacre, who is said to have been the son of a King of Scotland. (See NETHERSTOCKS.) [Illustration: Fig. 632. Stola. Costume of a Roman Matron.] =Stola=, R. (στολὴ, lit. an equipment). The robe worn by Roman matrons; it consisted of a wide tunic with long sleeves. It came down to the ankles or feet, and was confined at the waist by a girdle, leaving broad loose folds over the breast. The pallium was worn over the _stola_. It was the distinguishing dress of the Roman matron, and the _meretrices_ or divorced women were forbidden to wear it. The _stola_ was also worn by a certain class of priests. (See PALLIUM, TOGA.) (See Fig. 632.) [Illustration: Fig. 633. Stole.] =Stole=, Chr. This term, a synonym of _orarium_, denoted, with the early Christians, according to Fleury, a piece of fine linen which was worn round the neck. It was used as a kind of pocket-handkerchief, long before the introduction of Christianity, by the Romans, who named it indifferently _linteolum_, _strophium_, and _sudarium_. In the Christian Church it is represented by a narrow band of embroidered stuff, and worn over the left shoulder by deacons; and across both shoulders by bishops and priests. It is sacred to the memory of the cloth with which the Saviour is alleged to have wiped away the sweat from His face as He passed to the Crucifixion. (See SUDARIUM, ORARIUM.) =Stone Ochre.= A pigment. An earthy oxide of iron. (See OCHRES.) =Stone-ware.= (See POTTERY.) =Stopping-out.= In etching, arresting the action of the acid on the fainter lines of a plate, by covering them over with a preparation called _stopping-ground_, while the deeper and broader parts corrode. (See ETCHING.) =Stoup=, Chr. A small niche with a basin, at the entrance of a church, placed there for the holy water. O. E. A kind of tankard. (See Fig. 615.) =Stragulatæ.= Striped or barred silks; 13th century. =Stragulum=, R. (_sterno_, to throw over). A general term to denote any kind of covering used for bed-clothing, or a covering for men, horses, or beasts of burden, and thence a caparison. =Strap-work=, Arch. A form of architectural ornament, by the tracery of a narrow band or fillet in convolutions similar to those that a leather strap thrown down at hazard would form. It is characteristic of the Renaissance period. [Illustration: Fig. 634. Strasburg Porcelain. Open-work Basket.] =Strasburg Porcelain.= The manufacture of this ware, which was begun by Charles Hannong about 1721, became very celebrated for about sixty years. (Consult Jacquemart’s _History of the Ceramic Art_.) (Fig. 634.) =Strasburg Turpentine.= A varnish made of the resin from the silver fir (_pinus picea_), diluted with naphtha, drying linseed, or nut oil. =Strena=, R. A new year’s gift or present made on the calends of January. =Stria=, R. The fluting of a column. =Striated.= Fluted like a column. =Strigilis=, R. (_stringo_, to scrape). A bronze scraper for the skin, curved and hollowed like a spoon, used in the bath. The same term is used in architecture for a fluting which resembles the bath-strigil in form. =String-course=, Arch. A narrow moulding projecting from the wall of a building in a horizontal line. =Stroma=, =Gr.= (στρῶμα). A Greek term synonymous with the Latin STRAGULUM. =Strontian Yellow.= A pale canary-coloured pigment. =Strophe= (στρέφω, to turn). In Greek poetry, the first division of a choral ode, of which the other parts were the _antistrophe_ and the _epode_. =Strophium=, R. (στρόφιον, lit. a thing twisted). (1) A long scarf which the Roman women rolled into a band, and fastened round the body and breast. (2) A girdle for the same purpose, generally of leather. (3) The term likewise denoted the cable of an anchor. (See ORARIUM.) =Structura=, R. (_struo_, to build up). A general term for any kind of masonry. (See OPUS.) =Struppus= or =Strupus=, R. A rope or other fastening by which the oar is attached to the thole (_scalmus_). =Stucco=, It. A fine plaster, for covering walls, prepared by various methods, as a mixture of _gypsum_ and glue; or white marble, pulverized with plaster of lime and mixed with water; the _opus albarium_ of the ancients. =Stump=, for drawing in pencil or crayon. It is a thick roll of strong paper made into a kind of pencil, and used for rubbing over lines to soften them down for ground tints, gradation of shading, &c. =Stylites=, Chr. (στυλίτης). “Pillar saints.” Anchorites of the early Church who passed their lives on the top of a column, in order to give themselves up to meditation. There were some of them in Syria down to the 12th century. They derived their name from στῦλος, a column. [Illustration: Fig. 635. Stylobates.] [Illustration: Fig. 636. Stylobates.] [Illustration: Fig. 637. Stylobates.] =Stylobate=, Arch. A pedestal supporting a row of columns; Figs. 635 to 637 represent three richly-decorated stylobates found in the baths and other Roman ruins at Nismes. (See PEDESTAL, STEREOBATE.) =Stylus=, R. (Gr. στῦλος). A pointed instrument with which the Romans wrote on their waxed tablets. (See STILUS.) =Subarmale=, =Subermale=, R. A garment worn by soldiers underneath their armour; it formed the tunic of the legionaries, and representations of it are very frequently met with on the bas-reliefs of monumental columns and triumphal arches. =Subjugium=, R. Curved pieces of wood placed at each end of a yoke, _underneath_ it; whence their name. =Sublicius=, R. (_sublica_, a pile). Any wooden structure supported on piles. (See PONS.) =Subligaculum=, =Subligar=, R. (_subligo_, to tie below). A cloth worn by acrobats, drawn between the legs and made fast to the girdle. =Subsecus=, R. A tenon, in carpentry; that is, the tongue or wedge which fits into a mortise. =Subsellium=, R. (i. e. lower than a _sella_). A movable bench without a back, which was used in large assemblies. In a theatre or circus the same term was applied to the circular rows of seats in the _cavea_. =Subsericum.= Partly, not all, silk; opposed to _holosericum_. =Substructio=, R. (_substruo_, to build underneath). Any work of solid masonry, such as a foundation wall, abutment walls, &c. (See SUSPENSURA.) =Subtrefoiled=, Arch. Decorated with foils placed underneath; a term applied to what are called _trefoil-headed_ arches. =Subucula=, R. (_sub_, and _duo_, to put on). Under-garments of wool which the Romans wore next the skin, underneath the tunic. =Suburbanum=, R. A villa in the suburbs of Rome. =Succinctus=, R. (_succingo_, to gird beneath). Wearing a girdle round the waist above the tunic; applied to a person prepared for active exertion. =Sucula=, R. A capstan. =Sudarium=, Chr. A name of the miraculous portrait of our Lord, impressed on the cloth presented to Him by St. Veronica on the way to the Crucifixion. (See STOLE, VERA ICON.) A representation of this legendary portrait is given in Albert Dürer’s “Little Passion.” =Sudatorium=, R. (_sudor_, sweat). The hot room in a Roman bath. (See CALDARIUM.) =Sud’ha=, Hind. A temple of the Khmers or ancient inhabitants of Cambodgia, built of one unmixed material, and thence called _pure_ (_sud’ha_). =Suffibulum=, R. A large square piece of white cloth worn by vestals and priests during the discharge of their functions. [Illustration: Fig. 638. Suggestus.] =Suggestus=, R. (_sub_ and _gero_, to heap up). (1) A stage or platform from which an orator addressed a crowd. The ROSTRA at Rome was a celebrated _suggestus_. (2) In a camp the _suggestus_ was formed of stones and clods of turf, or constructed of wood-work, from which the general harangued the troops. (3) The raised seat from which the Emperor saw the games. =Suile=, R. A stable for pigs; among the Romans a building of considerable size, containing a number of separate sties (_haræ_). =Sulphate of Barytes.= (See BARYTES.) =Sulphate of Zinc=, or white vitriol, is used as a _dryer_. =Sulphurs.= Impressions taken by the goldsmiths of the 16th century from the engravings executed on plates, paxes, &c.; and which they obtained by spreading a layer of melted sulphur on the face of the plate, producing a cast in _relief_ of the lines engraved. Some few of these proofs exist in the British and continental museums, and are known as “sulphurs.” They are amongst the rarest specimens connected with the art of engraving. (_Fairholt._) [Illustration: Fig. 639. Device of Louis XIV.] =Sun=, Her. When represented shining and surrounded by rays, he has a representation of a human face on his disc, and is blazoned “In splendour,” or “In glory;” when “eclipsed” the representation is the same, but tinctured sable. =Sundials.= The sun-dial of Ahaz is mentioned by Isaiah, 713 B.C. Sundials with appropriate mottoes have been at all times fashionable. Mrs. Palliser gives a long selection of such mottoes: e.g.:— Nulla hora sine linea, “No hour without a line.” (Nec momentum sine linea, was Cardinal Richelieu’s motto.) Pereunt et imputantur—“They pass and are imputed”—(_Martial_). _Of the passing hour_, Dubia omnibus, ultima multis—(“Uncertain to all, the last to many”); or, suprema hæc multis forsitan tibi—(“The last to many, perhaps to thee”). The old sun-dial at the Palais de Justice in Paris is inscribed, in letters of gold, Sacra Themis mores, ut pendula dirigit horas—(“Holy Justice guides manners, as this dial does the hours”). The largest number are _allusions to Death_, as: Io vado e vengo ogni giorno. Ma tu andrai senza ritorno—(“I go and come daily, but thou shalt go and never return.”) And on a sun-dial at Bourges is the following: “La vie est comme l’hombre, Insensible en son cours. On la croit immobile: Elle s’avance toujours.” More cheerful mottoes are found from Horace, as: Carpe diem. Horas non numero nisi serenas (at Venice), &c. (Consult _Mrs. Alfred Gatty_, “_Book of Sundials_.”) =Super-altar=, Chr. A small portable altar. =Superaria.= (See EPENDYTES.) =Supercilium=, R. (lit. eye-brow). (See LIMEN SUPERIUS.) =Superindum.= (See EPENDYTES.) =Superpellicum=, Chr. A surplice. =Suppedaneum.= A synonym for SCABELLUM and SCAMNUM (q.v.). =Supplicatio=, R. (_supplico_, to kneel down). The act of praying when kneeling; opposed to _precatio_, a prayer uttered standing. Solemn thanksgivings offered to the gods in their temples. =Supporter=, Her. A figure that stands by a shield of arms, as if supporting or guarding it. Supporters came into use during the 14th century. (See Fig. 24.) [Illustration: Fig. 640. Surahé or Wine bottle. Persian Porcelain.] =Surahé=, Pers. A Persian wine bottle. The illustration represents a beautiful specimen of hard porcelain decorated in patterns, of Chinese character, executed under the glaze with cobalt. A legend on the medallions contains the words _Deh surahé_, “Give me the bottle.” (Fig. 640.) =Surbase=, Arch. The shaft of a PEDESTAL. =Surcoat.= Any garment worn over armour; more especially the long flowing garment worn by knights until 1325. (See Fig. 463.) =Surface-rib=, Arch. The rib of a groined vaulting. =Surinda=, Hind. A stringed instrument played with a bow. =Surod=, Hind. A kind of guitar, sounded with a plectrum. =Surplice=, Chr. The Protestant _alb_. See _Stevens_, in a note to _All’s Well that Ends Well_, Act i., scene 3, for notices of the Puritan aversion to this article of clerical costume. [Illustration: Fig. 641. Suspensura, showing the pillars supporting the floor of a bath-room.] =Suspensura=, R. In a general sense this term denotes anything that is supported, _suspended_ above arcades, columns, or pillars, and more especially the flooring of a bath-room, when it is supported by small low pillars. Fig. 391 shows the flooring of a bath-room, and Fig. 641 the pillars supporting the suspensura. (See HYPOCAUST.) =Svastika=, Hind. A kind of Greek cross, each branch of which ends in a hook. This cross has a sacred character, and is met with on a great variety of objects. Its origin dates back to the bronze age, and it is represented on the weapons of that period. (See FYLFOT.) =Swallow.= In Christian symbolism, the emblem of pride and of conversion. =Swallow-tail.= (See DOVE-TAIL.) =Swan=, Her. When blazoned “proper”—white with red beak and legs—it is the badge of the Bohuns, Staffords, and some other families. =Swathbondes=, O. E. Swaddling clothes (mentioned by Shakspeare). =Swine’s Feather=, O. E. A kind of bayonet about six inches long, affixed to a musket-rest and projected by the action of a spring; 17th century. =Sword.= (See GLADIUS.) =Sword=, in Christian art, is a symbol of martyrdom; it is also the attribute of martyrs who were soldiers. In Heraldry, when borne as a charge, it is straight in the blade, pointed, and with a cross-guard. The custom of swearing on the sword, the hilt of which took the shape of a cross, or had crosses engraved on it, is mentioned in very ancient history. (Cf. _Hamlet_.) =Sympathetic Inks.= Inks of which the marks are invisible until the moisture is absorbed by the application of heat. (See COBALT.) =Symposium=, Gr. A drinking party, distinguished from _deipnon_, a feast. A very common subject of representations on ancient vases. =Syndon= or =Sindon=. A better kind of _cendal_ (q.v.) =Synoikia=, Gr. (1) Athenian festivals held in honour of Athena in the month Hecatombeion (July-August). Their object was to commemorate the union of the government of all the towns of Attica in Athens. (2) A lodging-house adapted to hold several families (Latin, _insula_), for the convenience of foreigners and others who by Athenian law were prohibited from acquiring house property of their own. =Synthesis= or =Synthesina=, Gr. and R. (σύν-θεσις). One of the _vestes cœnatoriæ_ which the master of the house, the Amphitryon, provided for his guests. The parable of the “Wedding Garment” has reference to this practice. It was a kind of tunic worn over the other garments, and during the Saturnalia by all classes alike. It was usually dyed some colour, and was _not_ white like the toga. =Sypirs=, O. E. Cloth of Cyprus. =Syrinx= (O. E. 9th and 10th cent.). An instrument resembling Pandean pipes. =Syrinx=, Gr. and R. (σῦριγξ). The pastoral pipe invented by Pan; it was called by the poets _arundo_ and _fistula_. It was formed of seven hollow reeds of regulated lengths adjusted to form an octave. =Syrma=, Gr. (σύρω, to sweep). A robe with a train worn on the stage by those actors who had to represent the parts of gods or heroes. Hence the word is poetically used for tragedy. =Systyle=, Gr. and R. (σύστυλος). An arrangement in architecture, the intercolumniation of which is of the width of two diameters of the shaft, measured at its lower part, just above the _apophyge_; the distance between the _plinths_ being exactly equal to the diameter of the plinths, as in the Parthenon at Athens. T. [Illustration: Fig. 642. Tabard.] =Tabard=, O. E. (Lat. _colobium_). A tunic with sleeves, worn over the armour by knights of the Tudor period, and blazoned on the sleeves, front, and back; it is the official costume of a herald; Chaucer’s ploughman wears a _tabard_, like the modern smock-frock. (See COAT ARMOUR.) Fig. 642. =Tabaret.= A stout, satin-striped silk. =Tabbinet=, O. E. Another name for POPLIN. =Tabby=, O. E. A silk _watered_ or figured. =Tabella=, Gen. (dimin. of _tabula_). A small board, or tablet, of any kind, esp. (1) a wax-tablet; (2) a voting-tablet (_tessera_); (3) a letter sent by a messenger (_tabellarius_); (4) _tabella absolutoria_, a receipt for a debt; (5) _tabella damnatoria_, a judicial record of a verdict and sentence; (6) _tabella liminis_, the leaf of a door, &c. [Illustration: Fig. 643. Taberna.] =Taberna=, R. (1) A retail shop; Fig. 643 shows a shop at Pompeii, restored. (2) _Taberna deversoria_, _taberna meritoria_, or simply _taberna_, a wine-shop or _tavern_. (Fig. 643.) =Tabernacle Work=, Arch. The ornamented open work over the _stalls_ (of a cathedral church, &c.), and, in general, any minute ornamental open work is called _tabernacle work_. =Tabernaculum=, =Tabernacle=, R. and Chr. (Lit. a tent). (1) A booth of planks, or a wooden hut covered with hides. (2) In Christian archæology, the _tabernacle_ is a small shrine placed on the altar for the consecrated wafer. It succeeded the _pyx_, which was anciently deposited in one of two chambers arranged on each side of the altar. Originally of goldsmith’s work, in the 15th and 16th centuries they became stone shrines decorated with sculpture, approached by steps, rising into lanterns and pinnacles to the roof of the church. A cast of a beautiful tabernacle of late 15th century, marble with a gilt metal door, is in the South Kensington Museum. Tabernacles of ivory were common in the 16th century. (3) Ornamental niches in a hall. (4) Accurately applied the term signifies a _canopy_, (of stone, wood, or other material) such as was placed over a NICHE, a stall, &c. =Tabernula.= Dimin. of TABERNA (q.v.). =Tabinet.= (See TABBINET.) =Tabl shamee=, Egyp. The Syrian drum, used by the modern Egyptians; a kind of kettle-drum of tinned copper, with a parchment face. =Tablature=, Fr. One part of a painted wall or ceiling, forming a single piece or design. =Table=, O. E. The ancient meaning of this word was “any level expanded surface,” such as a flat piece of board. A picture was called a table (Latin _tabula_) as late as the 17th century. (See TABULA.) =Table-base=, Arch. A BASE MOULDING, near the ground, immediately over the plinth. =Table Diamond.= A gem cut with a flat surface. =Tablementum=, Arch. Synonym of TABULA. =Tables=, O. E. (1) Backgammon. (2) Ivory writing-tablets, so called, were used in the middle ages in England by people of all ranks:— “His felaw had a staff tipped with horn, A pair of _tables_ all of ivory, And a pointed ypolished fetishly, And wrote alway the names, as he stood Of alle folk that gaue hem any good.” (_Chaucer._) =Tablet.= (Fr. _tablette_.) Any flat surface for inscriptions; leaves for memoranda. =Tablets.= In architecture a general term for small projecting mouldings or strings, mostly horizontal. The tablet at the top, under the battlement, is called a _cornice_, and that at the bottom a _basement_, under which is generally a thicker wall. The tablet running round doors and windows is called a _dripstone_, and if ornamented a _canopy_. (_Rickman_, p. 42.) =Tabletterie=, Fr. Turned work in ivory or shells, &c. =Tablinum=, R. One of the apartments in a Roman house; it was a recess in the ATRIUM, and contained the wax or ivory portraits and statues in bronze and marble of ancestors, and carved representations of their honourable achievements in the state, and the family archives. (See DOMUS.) =Tabor=, =Tabour=, O. E. A very loud drum “which is bad for people’s heads, for, if stretched tight and struck hard, it may be heard at half a league’s distance.” =Tabouret.= An embroidery frame. =Tabret=, Heb. A small _tabor_. =Tabula=, R. and Chr. (1) Literally, a _plank_, and thence used to denote a variety of objects made of wood or planks, as for instance a bench; a dice-table; a waxed writing-tablet (_tabula cerata_); a panel-painting; a votive-tablet; a voting-ticket. (2) Arch. Properly any solid construction adapted for superficial decoration, as the _frontal_ of an altar. “The most remarkable example of the _tabula_ destined for the front of the Altar, is preserved in Westminster Abbey; it is formed of wood, elaborately carved, painted and enriched with a kind of mosaic work of coloured glass, superficially inlaid, a species of decoration of Italian origin.” (Consult _Parker’s Glossary_ s.v.) (3) In Christian archæology, _tabulæ nuptiales_ or _dotales_ was the name given to the parchment scrolls in the hands of persons who figure in the marriage scenes represented on tombs. =Tabularium=, R. A place set apart in the temples at Rome where the public records were kept. =Tace=, Chr. The cross or crutch of St. Anthony. =Taces.= (See TASSETS.) The _skirts_ or _coverings_ to the pockets. (_Meyrick._) =Taces.= Overlapping plates of armour to envelope the abdomen (see TACHES), introduced in the 14th century, under Richard II. =Tack= or =Dag=, O. E. A kind of pistol: something like a _petronel_. =Tæda= or =Teda=, R. A resinous torch made with pieces and slips of the pine called _teda_. [Illustration: Fig. 644. Tænia.] =Tænia=, Gr. and R. (1) The ribbon with which a wreath or fillet round the head was attached. (2) In architecture, the band which separates the Doric frieze from the architrave; it is, in many cases, ornamented with painting similar to that shown in Fig. 644. =Taffeta= (Pers. _taftah_, from _taftan_, to twist). A thin, glossy silken fabric, having a wavy lustre; a less costly silk than CENDAL (q.v.), 16th century. _Stow_ records that it was first made in England by John Tyce, of Shoreditch, London, 41 Elizabeth, 1598. =Taille de bois=, Fr. Wood-engraving. =Taille douce=, Fr. Copper-plate engraving. =Taille dure=, Fr. Steel engraving. =Tail-piece.= An ornamental design placed at the end of a page or chapter of a book. In French _cul-de-lampe_. =Takel=, O. E. An arrow,— “Wel could he dress his _takel_ yeomanly.” (_Chaucer._) =Talaria=, R. (_talus_, the ankle). Wings fixed to the ankles; the attribute of Mercury, Perseus, and sometimes Minerva. They are represented either attached to sandals, or growing from the limb. =Talbot=, Her. A badge of the Earl of Shrewsbury of that name (the “Scourge of France”). A silver running hound or _talbot_. =Talbotype.= The photographic process of multiplying impressions from a _negative_, invented by Mr. Fox Talbot. (See CALOTYPE.) =Talc= (from Germ. Talg, tallow). A translucent mineral, resembling _mica_ but much softer, “being calcined and variously prepared, it maketh a curious whitewash, which some justify lawful, because clearing not changing the complexion.” (_Fuller._) The Chinese make lanterns, shades, and ornaments of talc. =Talent=, Gr. and R. (τάλαντον, lit. a balance). A weight of silver with the Greeks, and of copper with the Romans; applied as a unit of value. The GREEK talent of silver is estimated at rather less than 250_l._ sterling—it contained 60 _minæ_, or 6000 _drachmæ_. The ATTIC talent was of much smaller value, of less than an ounce of gold, and is that generally intended by the word. The silver talent was called _talentum magnum_. The JEWISH talent of silver = about 396_l._, and of gold = about 5475_l._ From its application as an expression of a man’s available wealth, metaphorically applied _in Scripture_ to resources of any kind, as of intellect, position, &c., for the due unselfish administration of which he is responsible. =Talero=, It. A Venetian silver coin = about five francs. =Talevas=, =Talvas=. (See TAVOLACE.) =Tali=, R. (Gr. ἀστράγαλος). Knuckle-bones of sheep or goats, used from the earliest times, exactly as they are by children now, to play with. When they were marked with black dots on each face they were used as dice. The numbers were 1, 3, 4 and 6; 1 being opposite to 6, and 3 opposite to 4; and each number, and each cast, had its appropriate name: 1 was called in Greek μονὰς, εἷς, κύων, Χῖος; Ionic οἴνη; Latin, _unio_, _vulturius_, _canis_; 3 was τριὰς, and _ternio_; 4, τετρὰς, and _quaternio_; 6, ἑξὰς, ἑξίτης, Κῷος, and _senio_. The best throw was that called _Venus_ or _jactus Venereus_, in which the four _tali_ showed different numbers. By this cast the player became king of the feast or symposium; in the _canis_ (dog-throw), on the other hand, all four dice turned up the same number. =Talisman= (Arab, tilsam, a magical image). A charm worn about the person as a protection from dangers, especially from the effects of magic and the “evil eye.” The _bullæ_ worn by children, and the rings of the ladies among the Greeks and Romans frequently contained such charms. The practice has survived in all ages and nations, and is not at all unfrequent in the 19th century, and even among the educated classes. =Tall-boys=, O. E. High cups or glasses. =Tall-men=, O. E. Loaded dice. =Tall-wood=, O. E. “Pacte wodde to make byllettes of, _taillee_.” (_Palsgrave._) =Talleh=, Arab. Myrrh from Abyssinia. =Tallow-cut= (Fr. _en cabuchon_). This is a term applied by lapidaries to precious stones not cut into regular _facets_, but ground down and polished. =Tally=, O. E. (Fr. _tailler_, to cut.) An ancient method of keeping record of monies advanced to the Royal Exchequer. A _tally_ was a piece of wood inscribed with a receipt, which was split by an officer, and one part delivered to the lender, and the other, called the _Stock_, preserved in the Tally-office in the Exchequer. Hence the name Stocks for the Government securities. After the disuse of the tallies in 1782 the old ones were used for firing in the Houses of Parliament, and caused their destruction in 1834. =Talmud= (Chaldean, lit. instruction,) consists of two parts, the MISHNA and GEMARA; and contains the whole body of Hebrew law and traditions. =Talus.= (1) R. The game of knuckle-bones. (See ASTRAGALUS.) (2) Arch. The sloping part of a work, a term in fortification. =Talvace=, O. E. A shield or buckler, circular and projecting. =Talvas=, O. E. An oblong _wooden shield_, 14th century. =Tambour=, Fr. A small drum. Rich embroidery work done on a drum-shaped frame. =Tamboura.= An ancient musical instrument of the lute or guitar kind. The Hindoos represent Ganesa, the god of wisdom, as a man with the head of an elephant, holding a tamboura in his hands. =Tambourine.= A small drum with only one skin, played on by the hand. =Tamine=, =Taminy=, =Tammy= (Fr. _tamis_, a sieve). A thin woollen textile, highly glazed. =Tampion.= (See TOMPION.) =Tang-fish.= Seals are so called in the Shetlands. [Illustration: Fig. 645. Flemish Tankard, silver-gilt. 17th century.] =Tankard.= (Norman Fr. Tankar.) A drinking-jug with a cover. The name is said to be compounded of _étain_, tin, and _quarte_, a quart measure. The Flemish had tankards of wood, with pegs down the sides, to measure the quantity drunk. (See Figs. 615 and 645.) (See POKAL.) =Tapestry.= The introduction of _tapestry_ properly so called dates from the 12th century, when it began to rival the more ancient embroidered stuffs called _Sarrazinois carpets_. Tapestry is woven on looms, i. e. on a _warp_ rolled round two cylinders, and stretched out between them either vertically or horizontally, for the insertion of the _woof_ between and among the threads. When woven on a vertical warp, it is called high-warp (_haute-lisse_); when horizontal, low-warp (_basse-lisse_). The former produces, for many reasons, incomparably the finest work, and is the method adopted for the Gobelins and Savonnerie tapestries. The progress of the art has followed, especially in Flanders, that of painting, from which its models are derived. It has become less popular than it was during the present century, from the general disuse of hangings in the decoration of houses. Perhaps the best condensed account of this extensive subject is the work of M. Alfred de Champeaux, translated for the South Kensington Museum. (See BAYEUX TAPESTRY.) =Tapul=, O. E. The perpendicular ridge down the centre of a breastplate. =Tar-black.= A kind of _lamp-black_ prepared by the combustion of coal tar, or of the heavy oils of tar and schist. =Targe=, Fr. Med. A dagger or small sword: “Les autres gens avoient _targes_ et _semitarges_, qui sont espées de Turquie.” (See SEMITARGE.) =Targe= or =Target=, O. E. A round shield. =Targe= (or =Pavoise=) =Futée=, Fr. A shield composed of several pieces, which loosened on being struck, and fell asunder. The Swabian jousters at Maximilian’s triumph are described (_Meyrick_, vol. ii.) as bearing these shields. =Targe=, =Target=. (Welsh _targa_, wicker-work.) =Targum=, Chaldee (lit. interpretation). A paraphrase, or lesson from the Old Testament in the Chaldee language. =Tarn.= A mountain lake. =Tarots.= Emblematical cards still used in Switzerland and parts of Germany. “They are unknown, except as curiosities, to the Parisians and to ourselves; but they are, nevertheless, the sole representatives of the original cards which the Gipsies brought with them into Europe.” (_Rev. E. S. Taylor._) =Tarpaulin.= A tarred _palling_ or covering. =Tars, Cloth of.= A web of silk and the downy wool of goats of Tibet, the forerunner of _cashmere_. =Tarsia= or =Intarsia=. A kind of mosaic in woods; representing views of buildings and ornament of various kinds, by inlaying pieces of wood, of various colours and shades, into panels of walnut wood. =Tarsus.= In _Anatomy_, the instep and socket of the ankle-bone. =Tartan=, Fr. (_not_ Gaelic). The Highland plaid, the dress of the Scottish Highlanders, said to be derived from the Celta; the _Galli non braccati_. =Tartarium.= Cloth of Tars was a costly cloth of royal purple, probably a mixture of silk and goat’s hair from Thibet. It is mentioned by Chaucer:— “His coat armure was of cloth of Tars, Couched with perles.” =Tas= or =Tats=, Egyp. Amulets of gilded sycamore wood, cornelian, jasper, glass, &c., found suspended from the necks of mummies. =Tassel-gentle=, O. E. (for tercel-gentle). A species of hawk. (_Shakspeare._) =Tasses.= Flaps of armour attached to the bottom of the breastplate for the protection of the thighs. =Tat= or =Dad=, Egyp. A sculptor’s stool; a religious emblem worn by gods and sacred animals round the neck. The term was also probably a name of Mendés. =Tau=, =Taucross=. (1) Her. A cross formed like the letter T, so called in Greek. This charge is also called the Cross of St. Anthony. (2) Chr. As a motive for ornamental design the _tau_ is the ancient form of the episcopal staff as represented in the catacombs. Originally curved like the pagan _lituus_, it became in the 8th century straight. The Taus were often hollowed to contain relics, &c. (Consult _Ivories_, by _W. Maskell_, pp. 84, 85.) =Tauntons.= A kind of broad cloth made at Taunton in Somersetshire. =Tavolace= or =Talevas= (It. _tavolaccio_). A large thick wooden shield; like a _table_ (_tavola_) of wood (hence its name), 15th century. =Tawdry.= Showy. The word is _said_ to be derived from _Ethelreda torquem_, St. Ethelred’s necklace, which was composed of rows of twisted lace, an ornament much used by Anglo-Saxon ladies. (_Stormont._) =Tawdry Lace.= A kind of fine lace alluded to by Shakspeare, Spenser, &c. (_Halliwell._) “Fimbriæ nundinis sanctæ Ethelredæ emptæ.” (_Coles._) =Tawney=, O. E. A deep orange colour, used in the Middle Ages as a _livery_ colour. =Tawney Coat=, O. E. The dress of summoner or apparitor. (_Shakspeare._) =Taxidermy.= The art of preserving the skins of animals. =Tazza=, It. An ornamental cup or vase, with a flat shallow bowl, standing on a foot, and with handles. =Tchy=, Chinese. Twelve recurrent periods of the cycle of sixty years, represented by animals assigned to the twelve months, i. e. the signs of the Chinese Zodiac. They are: November, the _rat_; December, the _ox_; January, the _tiger_; February, the _rabbit_; March, the _dragon_; April, the _serpent_; May, the _horse_; June, the _hare_; July, the _ape_; August, the _hen_; September, the _dog_; October, the _boar_. The above are accordingly frequent accessories of designs on porcelain. =Te Deum=, Chr. The first words and title of a hymn composed by St. Augustin and St. Ambrose about 390. =Tegillum=, E. (dimin. of _tegulum_, a roof). A short mantle with a hood, made of a coarse material; worn by country people and fishermen. =Tegula=, R. (Gr. κέραμος; Lat. _tego_, to cover). A roofing tile; originally of baked clay or wooden shingles. At an early date (620 B.C.) tiles of marble were introduced, and were followed by tiles of gilded bronze; _per tegulas exire_ means to go out by the opening in the roof of the atrium, the compluvium. =Teheran Ware.= An inferior Persian majolica. =Tela=, R. A loom, an essential adjunct to every large establishment in ancient Rome; _tela jugalis_ was the simplest description of weaving-loom. The _warp_ was called _stamen_ from its upright position; the _woof_ subtegmen or trama. In Greek στήμων and κρόκη. [Illustration: Fig. 646. Telamon.] =Telamones=, R. Figures of men, which were employed in lieu of columns to support an entablature. (See ATLANTES.) (Fig. 646.) =Temo=, R. The pole of a carriage, waggon, plough, &c. =Tempera Painting.= Painting with pigments mixed with chalk or clay, and diluted with weak glue or size; chiefly used in scene-painting and decoration. (See DISTEMPER.) =Templars.= An order of knighthood introduced about A. D. 1118, and suppressed A. D. 1309. They wore a red Maltese cross on a white field, and bore a _banner_ showing that cross on a white field; and a second banner of black and white called Beau Séant, this word Beau Séant being their battle-cry. Their _badges_ were the AGNUS DEI, or Lamb and Flag; and a device representing two knights on one horse, indicating the original poverty of the order. This is blazoned in modern times as a _pegasus_, the two knights being mistaken for wings on a _flying horse_. =Template.= (1) A model in thin board of an ornament to be produced in sculpture. (2) A short timber under a girder. =Temple.= (See TEMPLUM.) =Temple Church=, London—a round church—is a representative specimen of the transition period of architecture in England from the NORMAN to the EARLY ENGLISH. “The Eastern part is a most excellent specimen of plain light Early English, and its growing and slender piers are perhaps unequalled.” (_Rickman, Architecture in England_, &c.) =Templet.= (See TEMPLATE.) [Illustration: Fig. 647. Templum in antis.] =Templum=, =Temple=, R. (τέμνω, to cut off). A Greek temple was not originally intended for worshippers, but as a shrine for the gods. In the earliest times the Greek temples were made of wood, and the primitive origin of them was probably a hollow tree in which the image was placed as in a niche. The early Greek temples were dark and gloomy, having no windows, but lighted through the door, or by lamps. At a very early stage in history, temples of great grandeur and beauty are mentioned. All temples were built in an oblong or round form, and were mostly adorned with columns; they were classified accordingly as _astyle_, without any columns; _in antis_, with two columns in front, between the _antæ_; _prostyle_, with four columns in front; or _amphiprostyle_, with four columns at each end; _peripteral_, with columns at each end and along the sides; or _dipteral_, with two ranges of columns all round, one within the other, &c. They were also described according to the number of columns in the porticoes, as _tetrastyle_, _hexastyle_, _decastyle_, &c.,—this number was never uneven; or according to the intercolumniation, as _pycnostyle_, _systyle_, _eustyle_, _diastyle_, or _aræostyle_. Many of the great temples consisted of three parts: the _pronaos_ or vestibule; the _cella_, properly the _naos_; and the _opisthodomos_. =Tendrils= of a vine or other creeping plant, with which it clasps the objects that support it, furnish abundant suggestions for ornamental designs in scroll-work. =Tenebrosi.= A school of Italian artists who devoted their attention to striking _Rembrandt_ effects of light and shade; represented by Caravaggio. =Tenent=, =Tenant=. A term in French heraldry applied to human figures as SUPPORTERS. =Tennée= or =Tawney=, Her. A deep orange colour, indicated by vertical lines crossing PURPURE. =Tenon.= The end of a piece of wood, shaped to fit into another piece. =Tenor.= In Music, a high male voice. =Tensa= or =Thensa=, R. A triumphal car, probably in the form of a platform on wheels, and richly decorated, upon which the images of certain gods were paraded during the Circensian games. The ceremony was regarded as one of the highest solemnity, and the car was escorted by the senators in robes of state, who helped to drag the carriage or to lead the horses, with thongs attached for the purpose. =Tenture=, Fr. Paper or tapestry hangings. =Tepidarium=, R. (_tepidus_, lukewarm). (1) A warm room in a bath; used as a preparation for the SUDATORIUM. (2) The vessel in which the water was heated. =Tercel=, O. E. The male hawk. (_Shakspeare._) =Terce major.= A sequence of three best cards. =Terebenthina.= Turpentine. =Terebra=, R. (_tero_, to rub or wear away). (1) Any tool used for boring, such as a drill, a gimlet, an auger, &c. (2) A mechanical ram contrived to pierce the walls of a fortification. =Terginum=, R. (_tergum_, the back). A leathern lash used for flogging slaves. =Terminal Figures.= Statues of the god Terminus. (See TERMINI, HERMÆ.) =Terminalia=, R. Festivals in honour of Terminus the god of boundaries; they took place yearly on the eighth day of the calends of March (23rd of February), which was the last day of the old Roman year. [Illustration: Fig. 648. Terminus.] =Termini=, =Terms=, R. The statues of the god TERMINUS, which consisted merely of posts or pillars for landmarks, were crowned with garlands by the proprietors of co-terminous lands. “When Tarquin the Proud desired to build a temple to Jupiter upon the Tarpeian rock, he begged all the inferior divinities to give up the altars they had upon the rock in favour of the master of them all. All the gods cheerfully consented except Terminus. This Terminus, therefore, who refused to yield to Jupiter, was chosen by Erasmus for his haughty device, with the motto _Cedo nulli_.” (_Mr. Palliser_, _Historic Devices, &c._) (See Fig. 648.) =Terra-cotta=, It. Baked clay; largely used in architectural ornament. =Terra da Boccali=, It. (See TERRA DI LAVA.) =Terra di Lava=, It. A clay which was anciently used in combination with charcoal to form a white ground for the reception of oil colours. =Terra di Siena.= An ochreous earth producing a yellow and a deep orange pigment; useful for oil and water-colour painting. (See SIENA.) =Terra Nera.= Black earth; an ancient pigment. =Terra Verde.= (See GREEN EARTH.) =Terraglia.= (See POTTERY.) =Terretta=, It. (See TERRA DI LAVA.) =Terry Velvet.= A kind of silk plush or ribbed velvet. =Tertiary Colours=, produced by the mixture of two secondary colours, are _greys_, inclining to the primary or secondary colour which is in excess in their composition. (Consult _Chevreuil on Colours_.) =Teruncius=, R. A silver coin equal in value to one-fourth of an as. =Tessela=, R. (diminutive of _tessera_). A small cube of stone or marble used for making mosaic pavements (_tesselatum opus_ or _tesselata structura_). =Tesselated pavement.= Inlaid or mosaic work composed of _tesselæ_. _Tesselatum flagrum._ (See FLAGRUM.) Cf. MUSIVUM OPUS. (Consult _Buckman and Newmarch_, _Remains of Roman Art in Cirencester_.) =Tessera=, R. (Gr. κύβος). A cube, a die; _tesseræ_, _tesseræ lusoriæ_, dice of ivory, bone, or wood; the dice-box is _fritillus_. (Compare TALUS.) _Tessera hospitalis_ was an oblong token of wood or earthenware, exchanged among families agreed to mutual hospitality. Many of these tokens have the bust of Jupiter Hospitalis impressed; _tessera theatralis_, a pass to the theatre; _tessera militaris_ (Gr. σύνθημα), a tablet on which the watch-word or war-cry of the day was written; it was passed about the ranks before joining battle. _Tesseræ frumentariæ_ or _nummariæ_, vouchers for bread or money distributed by the magistrates among the poor. (Cf. TESSELA, TALUS, TABULÆ.) =Testa=, R. A sherd of tiles or pottery, and thence an earthenware vase. =Testaceum=, R. (_testa_). Made of tiles; the term was used to denote a roofing or pavement made with the fragments of broken tiles. =Tester.= (1) Any flat _canopy_. The framework over a four-post bedstead. (2) A silver coin so called from the head (_teste_) of the king upon it. In the reign of Henry VIII. it was worth 12_d._ and afterwards 6_d._ French testers were struck by Louis XII. in 1513, and Scotch under Queen Mary in 1559. =Testière=, Med. Fr. Originally, mailed armour for a horse’s head, subsequently a plate between the ears on which a crest was fixed. (See CHANFRON.) =Testif=, Fr. Camel’s hair. =Testudinatus=, R. Made in the form of a TESTUDO (q.v.); the term was applied either to a roof or a ceiling. =Testudineus=, R. Made with tortoise-shells. [Illustration: Fig. 649. Testudo.] =Testudo=, R. (_testa_, a shell). (1) A tortoise, and thence a lyre of which the sounding bottom was made out of a tortoise-shell. (2) In Architecture, an arched ceiling, the four sides of which converge to a centre. (3) _Testudo arietaria_ was a movable wooden shed covered with skins and containing a battering-ram (Fig. 574). (4) Lastly the term denoted a kind of defensive roof formed by the shields of soldiers when advancing to the foot of a rampart (Fig. 649). =Tetra-chordon=, Gr. and R. (τετρά-χορδον). Literally, having four strings; _hydraulos tetrachordon_ was a hydraulic organ with four pipes. =Tetra-comus=, Gr. A banqueting-song sung at the festival of Bacchus during the fourth course (κῶμος). =Tetra-doros= (sc. _later_), Gr. A peculiar kind of brick described by Vitruvius; it was called from its measuring four hand-breadths. =Tetra-drachmum=, Gr. (τετρά-δραχμον). An Attic silver coin of the value of four _drachmæ_, or about 3_s._ 3_d._ =Tetra-foliated=, Arch. Said of any architectural decoration showing four foils. =Tetragon.= A plane figure having four angles; a four-sided figure. =Tetra-morph=, Chr. (Gr. τέσσαρα, four; μορφὴ, shape). The union of the four attributes of the Evangelists (the angel, eagle, lion, and ox), in one figure, e. g. as a woman crowned and seated on an animal which, with the body of a horse, has the four heads of the mystic creatures; and of the four feet one is human, one hoofed for the ox, one clawed like an eagle’s, and one like a lion’s; underneath is inscribed _Animal Ecclesiæ_. =Tetra-style=, Gr. and R. (τετράστυλος). Having four columns. (See TEMPLUM.) =Tetra-vela=, Lat. “The veils or curtains placed between the pillars which supported the canopy of the altar, at the sides and in front, and which were drawn round it when the priest was not officiating.” (_Fairholt._) =Teutonic Order.= A military order of knights, established in the Holy Land about 1191. They first subdued and Christianized Prussia. =Tewel=, Arch. (From the French _tuyau_.) A pipe or flue to convey smoke; it is mentioned by Chaucer: “... Soche a smoke gan out wende Blacke, blue and greenish, swartishe, rede, As doith where that men melte lede, Lo! all on hie from the _tewell_.” (_House of Fame._) =Textile=, R. (_texo_, to weave). Woven. Anything capable of being woven. =Texture.= In Art, the _surface_ appearance of a representation not of textiles only, but of the other parts of a picture—wood, marble, skin, hair, &c. Gerard Dow excels in _texture_. =Thalamifera=, Gr. A term applied, in describing ancient sculpture, to kneeling figures supporting tablets, on which figures of the gods or inscriptions are carved. =Thalamus=, Gr. and R. (θάλαμος). The nuptial chamber in a Roman house; the others were called DORMITORIA. =Thalysia=, Gr. (θαλύ-σια). Greek festivals of the harvest and vintage. =Thargelia=, Gr. (θαργήλια). Very ancient festivals held at Athens on the occasion of a plague or other public disaster in honour of Apollo and Artemis; in which two persons, generally criminals, were put to death for the _purification_ of the city. =Thaumaturgi=, Chr. (θαυματο-εργός). Workers of miracles. =Theatrum=, =Theatre=, Gr. and R. (θέατρον, lit. a place for seeing). The construction of the ancient GREEK theatre was similar to that of modern theatres. The seats rose one behind and above the other in concentric half-circles, and the whole space enclosed was called _cavea_, the pit, being in most cases a real excavation from the rock. The central level space within and below the circles for spectators was covered with boards, upon which the _chorus_ danced and performed their part. This was the ORCHESTRA, the central point of which and of the plan of the whole building was the THYMELE, or altar of Dionysus. This altar became a _property_ of the piece, doing duty as a funeral monument, an altar, or a pulpit for the leader of the chorus or flute-player, according to the nature of the performance going on, in which it must be remembered that the part assigned to the _chorus_ in the orchestra below was quite as important as any other, and in its original intention was in fact the centre of interest, to which the performance on the stage was _accessory_. The whole theatre and orchestra were open to the sky. The cavea of the former accommodated about 50,000 spectators. The arrangements of the stage were elaborate and ingenious, and the art of _scene-painting_ developed at a very early period. The ROMAN theatre differed from the Greek principally in the absence of an _orchestra_, that space (the modern _pit_) being used for the seats of senators, foreign ambassadors, &c. Remains of ancient theatres still exist in Greece, Italy, and France. The most perfect of these are the Colosseum at Rome, and the amphitheatre at Nismes. =Theca Calamaria=, Gr. and R. (θήκη; τίθημι, to put into). A portable inkstand. =Thenard’s Blue.= (See COBALT.) =Thensa.= (See TENSA.) =Theo-gamia=, Gr. (θεο-γάμια). Greek festivals held in honour of Proserpine and commemorating her marriage with Pluto. =Theorbo.= A stringed musical instrument; a kind of lute, having supplementary strings by the side of the finger-board. =Thermæ=, Gr. and R. (θέρμαι, lit. hot-springs). Distinguished from _balneæ_. The luxurious establishments for bathing, gymnastics, and conversation which grew up under the Roman Empire, on which all the resources of architecture and decorative art were lavished. The ruins of the _thermæ_ of Titus, Caracalla, and Diocletian are still visible. They contained, besides the baths properly so called, “_exedræ_ for philosophers and rhetoricians to lecture in, _porticoes_ for the idle, and libraries for the learned, and were adorned with marbles and fountains, and shaded with walks and plantations.” =Thermography.= A chemical process for copying prints and drawings upon paper or metal by the agency of _heat_ without light. =Thermopolium=, R. (θερμο-πώλιον). A refreshment-room, in which warm drinks were sold, such as mulled wine, mead, &c. =Thermulæ= (dimin. of _thermæ_). Baths on a small scale. =Thesaurus=, Gr. A treasure-house. In the monuments of the heroic period many subterranean buildings of great extent and peculiar construction have been attributed to this purpose; but they may more probably have been sepulchral. In historical times the public treasures were in the _agoræ_ or the temples. (See ÆRARIUM.) [Illustration: Fig. 650. Part of the Frieze of the Temple of Theseus, Athens.] =Theseum.= An Athenian temple built in the 5th century B.C., to receive the bones of Theseus. It was richly ornamented with statuary and sculpture. The former has been destroyed; but some metopes and sculptured friezes in high relief remain, of which castings exist in the British Museum. Our illustration represents an incident of the “Battle of the gods and the giants,” and is remarkable for anatomical precision. In these sculptures Greek art has entirely emerged from the _archaic_ stage, and they were doubtless the inspiring models for Pheidias and his contemporaries, and the forerunners of the Parthenon sculptures. (See ELGIN MARBLES.) =Thesmo-phoria.= Greek festivals of women and maidens in honour of Demeter, in commemoration of the traditions of civilized life. The solemnities opened with processions of women bearing on their heads the books of the sacred laws (ascribed to Demeter). On the second day, of fasting and mourning, the women remained all day grouped round the statue of Demeter in the temple, taking no other food than cakes of sesame and honey, and in the afternoon walked barefoot in procession behind a waggon on which baskets with mystical symbols were borne to the _thesmophorion_. On the third day they commemorated the smiles of Demeter, under the epithet of καλλιγένεια. =Thibet Cloth.= A fabric of goat’s hair; called also _camlet_. =Thick-pleached=, O. E. Thickly interwoven. (_Shakspeare._) =Thieves’ Vinegar.= A kind of aromatic vinegar for a sick-room, consisting of the dried tops of rosemary, sage-leaves, lavender-flowers, and bruised cloves, steeped in acetic acid and boiling water. It derives its name and popularity from a story that thieves who plundered the dead bodies during the plague with perfect security, attributed their impunity to the use of this disinfectant. (_Simmonds’ Commercial Dictionary._) =Thimbles= are said to have been found at Herculaneum. The manufacture was introduced into England, from Holland, about 1695. [Illustration: Fig. 651. Badge of the Thistle.] =Thistle=, Her. The national badge of Scotland represented after its natural aspect and tinctured proper. The Order of the Thistle of Scotland was instituted a long time before the union of the two kingdoms (commemorated in the badge selected by James I. of the rose and thistle combined). (Fig. 293.) The badge or jewel is of gold enamelled, having a figure of St. Andrew holding his silver saltire and surrounded by rays, and an oval border with the motto. It is borne from the collar of the order formed of thistles alternating with bunches of rue sprigs, or on a dark green ribbon across the shoulder. The order of the _Ecu d’Or_, instituted by Louis of Bourbon (1410), had also a _thistle_ in the jewel and girdle. =Tholus=, Gr. and R. (θόλος). A dome and cupola of a circular building. =Thorax=, Gr. (θώραξ). (1) A breastplate; Latin LORICA (q.v.). (2) A bust of wax, marble, or bronze. =Three-pile=, O. E. Rich velvet. =Three-quarter.= A size of portrait; 30 inches by 25. (See PORTRAIT PAINTING.) =Thrones=, Chr. An order of angels, usually represented with double wings, supporting the Throne of the Almighty in ethereal space. =Through-stone= or =Throwstone=, O. E. (variously spelt, derived from Anglo-Saxon, _thruh_, a coffin.) A flat grave-stone. Parker gives in his “Glossary” the following quotation:— “Over the midst of the said vault did lie a fair _throwstone_, and at each either side of the stone it was open, through which were cast the bones of the monks whose graves were opened for other monks to lie in; which vault was made to be a charnel-house to put dead men’s bones in.” (_Ancient Rites of Durham._) [Illustration: Fig. 652. Thurible. An Arabic incense-burner in brass, inlaid with silver.] =Thurible=, Chr. An incense-burner. Generally of bronze. The practice of burning incense in religious functions is very ancient, and originated in the East. The illustration (Fig. 652) is a beautiful specimen of Arabian work devoted to this object. =Thurles=, O. E. (holes through the wall). The small windows of a house; 12th century. =Thyas= or =Thias=, Gr. A Bacchante, the Greek equivalent for the Latin BACCHA. =Thymela=, =Thymelê=, Gr. (θυμέλη). (Literally, a place for sacrifice.) An altar placed in the orchestra of a Greek theatre and dedicated to Bacchus. =Thyroma=, Gr. (θύρωμα). A synonym for the Latin JANUA (q.v.). =Thyrsus=, R. (θύρσος). A long staff, surmounted with a fir-cone, or a bunch of vine-leaves or ivy, with grapes or berries, carried by Bacchus, and the satyrs, mænads, and others, during the celebration of religious rites. Beneath the garland or fir-cone the thyrsus ends in the sharp point of a spear, a puncture from which induces madness. =Tiara=, Gr. (τιάρα). A hat with a tall high crown; the characteristic head-dress of the north-western Asiatics; especially the Armenians, Parthians, Medes, and Persians. _Tiara recta_ or cidaris was an upright tiara, the regal head-dress of Persia. _Tiara Phrygia_ was a synonym for MITRA. Fig. 653 represents the head-dress and costume of a Persian soldier. [Illustration: Fig. 653. Persian soldier wearing the _tiara_.] =Tiara=, Chr. The Pope’s triple crown, emblematic of his authority in the three kingdoms of heaven, earth, and the lower world. (See Fig. 653.) =Tibia=, R. (Greek, _aulos_). A pipe or flute of reed, bone, ivory, horn, or metal, perforated with holes for the notes like a flute; the principal varieties were:—the _monaulos_ or single pipe, including the bagpipe (_utricolarius_); the _diaulos_, or double pipe, bound round the cheeks with a bandage called by the Romans _capistrum_, and in Greek _phorbeia_; and the _syrinx_ or Pandæan pipe, of three to nine tubes. =Tibia Curva=, R. A kind of flute curved at its broadest end. =Tibia Dextra=, R. The right-hand pipe of the _diaulos_, usually constructed of the upper and thinner part of a reed. =Tibia Gingrina=, R. A flute made of a long thin tube of reed with a mouth-hole at the side of one end. =Tibia Ligula=, R. A flute resembling the modern flageolet. =Tibia Longa=, R. A flute used especially in religious worship. =Tibia Obliqua=, R. A flute having the mouthpiece at right angles to the tube. =Tibia Sinistra=, R. The left-hand pipe of the _diaulos_, usually constructed of the lower and broader part of a reed. =Tibia Utricolarius=, R. The ancient bagpipe. =Tibia Vasca=, R. A flute having the mouthpiece at a right angle. =Tibiæ Pares=, R. A name for the double flute when the tubes were exactly alike, _impares_ when they differed. =Tie-beam=, Arch. The strong horizontal on which the king-post and other uprights rest, which support the beams of a roof. =Tierce=, =Per Tierce=, Her. Divided into three equal parts. =Tig=, O. E. A shallow drinking-bowl with four handles, made to pass round the table from hand to hand as a _loving cup_. =Tiger-wood=, obtained from Guiana, is a valuable ornamental wood for cabinet-work. =Tignum=, R. In a general sense wood used in carpentry, a beam or joist; in a more restricted sense, a tie-beam, rafters, brackets, &c. =Tigrinæ.= Tiger-tables. Great importance was attached in Roman decorative art to the grain of the wood. Tables having “veins arranged in wavy lines,” were called Tigrinæ, from the resemblance of their pattern to that of a tiger’s skin. Those having “veins which formed spirals, or little whirlpools,” were called _pantherinæ_, or panther-tables. =Tiles= for roofs are of two kinds:—plain tiles and pan tiles; they are mentioned in an ancient statute of King Edward IV. (1477), regulating the “Fesure, whitying, et anelyng de tewle, appelez pleintile, autrement nosmez thaktile, roftile, ou crestile, cornertile et guttertile fait et affaire deinz cest Roialme.” _Glazed_ or _encaustic tiles_ were anciently much used for paving sacred edifices. English designs are generally heraldic in character. In Spanish architecture tiles were used for the decoration of walls instead of hangings; and richly decorated pavements are found in Asia Minor and the East Indies. (Consult _Parker’s Glossary_, _J. G. Nichols_, _Examples of Tiles_, &c.) =Tilt=, O. E. The word is properly applied to the exercises in training for the joust, against the QUINTAIN, the PEL, the ring, and other objects. =Timbre=, Her. (1) Anciently, the _crest_; (2) Modern French, the _helm_, in a coat of arms. =Timbrel.= An ancient _tambourine_, with a double row of gingles. =Tin-glazed Wares.= (See POTTERY.) =Tina=, R. A large vessel used for holding wine; its shape is unknown. =Tinctures=, Her. The two metals and the five colours of heraldry. =Tint= of colour = degree of intensity. In painting in oils this is lowered by the addition of a white pigment, in water-colours by dilution. “_Tint_ is any unbroken state of any colour, varying between the intensity of its parent colour and the purity of white.” (_J. B. Pyne, in the Art Union of 1844._) (See TONES.) =Tint-tools.= In copper and wood-engraving, gravers used for skies, still waters, architecture, &c. The word “tint” in engraving means colour, and skies are _tints_ cut horizontally. =Tintinnabulatus=, R. Carrying a bell (_tintinnabulum_); a term applied especially to animals which carried a bell hung round their neck. [Illustration: Fig. 654. Tintinnabulum. Front view.] [Illustration: Fig. 655. Tintinnabulum. Side view.] =Tintinnabulum=, R. (Gr. κώδων). A bell used as a hand-bell; they took very various forms in antiquity, hemispherical, pear-shaped, or cylindrical, and some were square. The Romans also made use of a kind of swinging gong similar to that shown in Figs. 654 and 655, of a specimen discovered at Pompeii, and now in the Naples museum. =Tintinnabulum=, O. E. A musical instrument made of a set of bells, arranged in order within a frame. =Tints.= (See TONE.) =Tiraz=, Arab. The ancient name of the apartment in an Arab palace set apart for weaving; also of the rich silken stuffs woven there. =Tire Valiant= or =Volant=, O. E. A kind of head-dress. (_Shakspeare._) =Titulus=, R. (1) The title or INDEX of a book. (2) A notice in front of a house to be let or sold. (3) An epitaph or other inscription on monuments. (4) A large board mounted on a spear and inscribed with the numbers of the prisoners, cities, and standards that had been captured from the enemy; carried in a TRIUMPH or OVATION. =Tobine.= A stout twilled silk. [Illustration: Fig. 656. Roman Senator wearing the toga.] =Toga=, R. (_tego_, to cover). The principal outer garment of a Roman, as the PALLIUM (q.v.) was the national dress of the Greek. Among the different kinds of toga were the _toga restricta_, _toga fusa_, _toga prætexta_, _toga pura_ or _virilis_, _toga palmata_, _toga picturata_, &c. The colour of the toga was ordinarily white. _Candidates_ (from _candidus_, white) were so called from their whitening their togas with chalk; the _toga pulla_, of the natural colour of black wool, was worn in mourning; the _toga picta_, or embroidered toga, was for generals on their triumphs. (See also PRÆTEXTA, TRABEA, &c.) The illustration (Fig. 656) represents the statue of a Roman senator of the Augustan age. =Togatus=, R. Wearing the _toga_; essentially the Roman costume, opposed to _palliatus_, a man in the Greek dress. =Togula=, R. (dimin. of _toga_). (1) A toga of a fine texture; or (2) the short and threadbare toga of coarse texture, worn by a poor man, who then went by the name of _togatulus_. =Toilinet.= A textile of silk or cotton warp, with woollen weft. =Toise.= In French lineal measurement = 76 inches. =Toison d’Or=, Her. The Golden Fleece. A French order of knighthood, instituted by Philip the Good in 1429. The order has a king at arms called Toison d’Or. The collar is composed of flint-stones, alternately with double _fusils_ placed two and two together, forming double B’s. From this suspends a Golden Fleece. The motto is, “Pretium non vile laborum.” (See FUSIL.) =Tokens.= Small coins issued by tradesmen for current money. (Consult _W. Boyne’s Tokens_, &c.) =Tolleno=, R. (_tollo_, to lift). (1) A contrivance for drawing water from a well, made of a strong cross-bar poised from the top of an upright beam, with a weight at one end and a rope and bucket at the other. (2) A similar apparatus was used in siege operations to lift soldiers up to a wall. =Tom-tom.= Oriental small drum, of a barrel form, covered at each end with skin, carried obliquely, and beaten with one hand at each end. [Illustration: Fig. 657. Lycian Tomb of great antiquity.] =Tomb.= From the earliest ages tombs similar in general design to those of modern times have been used to mark the resting-places of the dead. Fig. 657 represents an ancient monument in Lycia. (See STELA, SHRINE.) =Tombac.= Red brass; the white tombac is an alloy of copper and zinc, containing not more than 20 per cent. of zinc. =Tompion.= The plug to the mouth of a cannon. =Tondi=, It. A name given to a series of twelve circular medallions, painted by Luca della Robbia, with impersonations of the twelve months. =Tondino=, It. A name given to small plates or dishes, which it was a mediæval fashion for the gallants to present, filled with confectioneries, to ladies. They are described as small, with a wide flat brim and sunk centre; in this, the central medallion generally occupied by a figure of Cupid, hearts tied by ribbons or pierced with arrows, or by joined hands, and similar amatory devices, or with a shield of arms and initial letters, &c. =Tones= are the modifications which a colour, in its greatest intensity, is capable of receiving from _white_, which _lowers_ its tone, or _black_ which _heightens_ it. A _scale_ is an assemblage of tones of the same colour, thus modified. The pure colour is the _normal tone_ of the scale. _Hues_ are the modifications which a colour receives from the addition of a small quantity of another colour. (_Chevreuil on Colour_, pp. 34, 35.) =Tonometer.= A delicate instrument for tuning musical instruments, by marking the number of vibrations. =Tonstrina=, R. A barber’s shop; frequented only by the middle classes; the rich were shaved at their houses; and the poor allowed their beards and hair to grow. =Tonsure=, Chr. The clerical crown, adopted, it is said, in imitation of St. Peter, or of the Crown of Thorns, was disapproved of in the 4th century as pertaining only to penitents; and not made essential till the end of the 5th or beginning of the 6th centuries. =Tontisse=, Fr. Flock-paper; paper-hangings ornamented with flock-wool. =Tooth-Ornament=, Arch. A name of the NAILHEAD moulding. It is the peculiar distinction of the Early English style, to which it is nearly, if not exclusively, confined. It is the regular progression from the Norman _zigzag_ to the delicate _quatrefoil_ of the DECORATED ENGLISH. It resembles a succession of low, square, pierced pyramids set on the edges of a hollow moulding. =Toothing=, Arch. Projecting bricks left at the end of a wall, to form a _union_ with any further buildings. =Topaz.= There are two varieties of this gem; the Brazilian yellow, which is the best known, and the Oriental. =Topaz=, Her. In blazoning arms of nobles, the names of _gems_ were sometimes substituted for _tinctures_; the topaz for gold (OR). =Topes=, Hind. Buddhist sepulchral monuments, cone-shaped, and round at the tops, like the _dagobs_ of Ava and Ceylon. =Topiaria= (Ars), R. Artificial training of shrubs and trees into fantastic shapes. Painted representations of landscapes on the walls of houses were called TOPIA. (See HORTUS.) =Topiarius=, R. A gardener skilled in the ARS TOPIARIA (q.v.). =Torale=, R. (_torus_, a couch). The hanging valance of a couch. =Torch=, R. The emblem of marriage, from the custom of forming wedding processions in the evening by torch-light. Upright, the torch was the emblem of rejoicing; reversed, of death or sleep; hence its application upon funereal monuments. =Torcular=, =Torculum=, R. A wine or oil-press. Hence— =Torcularium=, R. The press-room. =Toreador=, Sp. A bull-fighter. =Toreuma=, Gr. and R. (τόρευμα). _Carving upon ivory_ executed on the lathe. =Toreutic Art= (from τορεύω, to bore through; _or_ from τορός, clear, distinct). Sculpture; especially of metals, ivories, metallic castings in relief, &c. A long essay on the meaning of this word occurs in the works of De Quincy. =Tormentum=, R. (1) (_Torqueo_, to twist.) A general term for such instruments as the _balista_, _catapulta_, _onager_, _scorpio_, &c., from the twisting of the strands of the ropes that were used as the string to the bow. (2) Torture. By the Greek law the evidence of slaves was _always_ extracted by torture. In Rome free persons _in humble circumstances_ were also subjected to it in cases of treason. =Tornus=, Gr. and R. A lathe or potter’s wheel. =Torquatus=, R. Wearing the Gallic TORQUE. _Torquatus miles_, a soldier who received such a collar as a reward, and wore it, not round the neck, but on the breast, like a decoration. =Torques=, Gen. (_torqueo_, to twist). A necklace, or armlet, or collar of gold or other wire spirally twisted. (See ARMILLA, MONILE, &c.) =Torse=, Her. A crest-wreath. (See ORLE.) =Torso=, It. In Sculpture, the trunk regarded apart from the head and limbs. The celebrated Torso of Hercules, in the Vatican, by Apollonios, about 336 B.C., is said to have been the favourite inspiration of Michael Angelo. Another fine torso is that known as the Farnese, in the Naples Museum, representing probably a seated figure of Bacchus. =Torteau=, Her. A red ROUNDLE (q.v.). [Illustration: Fig. 658. Tortoise. Device of the Duke of Tuscany.] =Tortoise.= Among the Egyptians the tortoise was an emblem of darkness and of death. Fig. 129 is the remarkable device of Cosmo, Grand Duke of Tuscany, with the motto, “Hasten slowly,” i. e. have caution with energy. =Tortoise-shell= is largely used for making combs, and for veneering on cabinet-work. When it is softened with hot water, it receives impressions which become permanent if it is suddenly cooled. The plates used are those found on the back of the sea-turtle (_chelone imbricata_). Five large plates are obtained from the middle of the carapace or upper buckler, and four large ones from the sides, called “blades,” and twenty-five smaller plates from the edges, called “feet or noses.” The belly shells are of a yellow colour, and are used for the purposes of horn. =Torus=, R. Anything swelling like the strand of a rope. A bed covered with sheets or blankets (_toralia_). [Illustration: Fig. 659. Torus moulding.] =Torus=, Arch. A convex moulding used in architectural decoration (Fig. 659) at all periods and by all nations. =Touchstone= is a kind of black jasper, known as _Lydian stone_, used for testing gold. This is done with _touching_-needles tipped with metal in various states of alloy, and the streaks that they make on the touchstone determine the fineness of the gold. In Architecture, certain black marbles were anciently so called, from their supposed identity with the _lapis Lydius_. =Tough=, Turkish. A Turkish standard; a _horse-tail_ attached to the upper part of a pike which ends in a crescent and ball. =Tourelle=, Fr. A small tower on a castle, with a winding staircase. =Towers.= (See ROUND TOWERS.) =Trabea=, R. (lit. shaped like a _trabs_ or beam). A rich toga, either made entirely of purple cloth or decorated with horizontal stripes of that colour. The purple toga was an attribute of the _gods_, and afterwards of the _emperors_; purple and white, or purple and saffron, of augurs; purple and white, of _royalty_ (kings). =Trabs=, R. A beam; especially a long beam supporting the joists of a ceiling. =Tracery.= In architecture or decorative work, geometrical ornament, such as is inserted on the upper parts of Gothic windows, in Alhambraic architecture, &c. =Tracing-paper= is made of tissue-paper soaked in oil or thin varnish. =Trajan Column=, in Rome, the work of Apollodorus, A. D. 114, is 10½ feet in diameter, and 127 feet high, made of 34 blocks of white marble—23 in the shaft, 9 in the base, which is finely sculptured, and 2 in the capital and torus. The sculptures show about 2500 figures besides the horses, and represent the battles and sieges of the Dacian War. The column is a perfect _handbook_ of the military costume of Rome and other countries of its period. (Consult the work of _Alfonso G. Hispano_, published at Rome, 1586, which contains 130 plates representing all the sculptures; or the more modern work of _Pietro Santo Bartoli_, which contains beautiful engravings of all the reliefs.) A plaster cast of the column in two pieces is in the South Kensington Museum, with a handbook by J. H. Pollen on a desk near its base, with the aid of which it can be perfectly studied at leisure. =Trama=, Sp. The weft or woof; a kind of silk thread so called. =Transenna=, R. and Chr. A snare for birds. It consisted of a net stretched over a circular framework. In Christian archæology, the name was given to a marble lattice placed in the catacomb chapels to protect the relics. =Transept=, Arch. A transverse nave, passing in front of the choir, and crossing the longitudinal or central nave of a church. It is sometimes called the _cross_, and each of its parts to the right and left of the nave are called _cross-aisles_. =Transfluent=, Her. Flowing through. =Transition Periods= of Architecture. Generally speaking, all periods deserve this title, as the progressive change of the styles is continuous. Those with more precision so described are, in English Architecture, three:—from the NORMAN to the EARLY ENGLISH; and then to the DECORATED; and thirdly to the PERPENDICULAR, styles. =Transmuted=, Her. Counter-changed. =Transom=, Arch. The horizontal cross-bar in a window. =Transposed=, Her. Reversed. =Transtrum=, R. (_trans_, across). In a general sense a horizontal beam. In the plural, _transtra_, the cross-benches of a ship occupied by the rowers. =Trapeso=, It. A weight for gold and silver; the twentieth part of an ounce. =Trapetum=, R. A mill for crushing olives. =Trapezophorum=, R. (τραπεζο-φόρον). A richly carved leg for side-boards or small tables; sometimes called DELPHICA (q.v.). =Trasformati of Milan.= One of the Italian Academies who bore as a device a plane-tree, and the verse from Virgil, “_et steriles platani malos gessere valentes_,” “the barren planes have borne good fruit” (cut out of a wild olive-tree and grafted in). =Travagliati.= One of the Italian literary academies, whose device was a sieve (_vaglio_) with the motto “_donec purum_” (until clean). =Traversed=, Her. Facing to the _sinister_. =Travertine=, =Travertino=, It. A compact kind of TUFA stone, used in architecture; part of St. Peter’s and the Colosseum of Rome are built of this stone. (See TUFA.) It is a stone of a white or yellowish tint, and was used by the ancient painters to give _body_ to lakes. =Trebuchet=, Fr. Med. A mechanical contrivance for projecting stones and darts; a kind of enormous cross-bow or sling. =Tredyl=, O. E. (See GRYSE.) =Treflée=, Her. (See BOTONNÉE.) [Illustration: Fig. 660. Trefoil slipped.] =Trefoil=, Arch. An ornament of three foils peculiar to the Romano-Byzantine and pointed styles. This ornament occurs in bands or string-courses, and also forms _entablatured_ foliage. A synonym for it is _tiercefoil_. In Heraldry, a leaf of three conjoined foils generally borne _slipped_. (Fig. 660.) =Trellis.= Open lattice-work. =Trenchers= (Fr. _tranchoirs_). Originally thick _slices_ of bread on which the meat was served, instead of plates; 13th century. =Trental=, O. E. Chr. for Trigintale. Thirty masses for the dead. =Tresson=, Fr. A net for the hair, worn by ladies in the Middle Ages. (See CALANTICA.) =Tressure=, Her. A variety of the ORLE, generally set round with _fleurs-de-lys_. A striking example is to be seen in the Royal Shield of Scotland, now displayed in the second quarter of the Royal Arms, blazoned as—_Or, within a double Tressure flory; counterflory, a lion rampant guardant_. =Trevat.= A weaver’s cutting instrument for severing the pile-threads of velvet. =Triangle=, Chr. An equilateral triangle is a symbol of the Holy Trinity, and therefore the motive, only second in frequency and importance to the CROSS, of the construction and decoration of Christian churches. =Triangle.= A musical instrument of early occurrence, producing sound by the striking of a metal triangle with a metal rod. =Triblet.= A goldsmith’s tool used in making rings. =Tribometer.= An instrument for estimating the friction of different metals. =Tribon=, Gr. and R. (τρίβων). Literally, worn threadbare; and thence a coarse and common sort of mantle worn by the Spartans or by Romans who affected Spartan manners. =Tribula= or =Tribulum=, R. (_tero_, to rub). An apparatus for threshing corn; consisting of a heavy platform armed with iron teeth or sharp flints. =Tribulus=, R. (τρί-βολος, three-pointed). A CALTRAP (q.v.). =Tribunal=, R. A raised platform for the curule chairs of the magistrates in the Basilica. =Tribune=, R. and Chr. The semicircular recess in a Latin basilica in which the chief magistrate had his raised seat and administered justice. In Christian archæology, a gallery in a church; the _triforium_ and the organ-loft are tribunes. In Italian, _tribuna_, a picture-gallery. =Tricerion=, Chr. (τρὶς, thrice; κέρας, a horn). A candlestick with three branches, symbolizing the Holy Trinity. (See DICERION.) =Tricked=, Her. Sketched with pen and ink in outline. =Triclinium=, Gr. R. and Chr. (τρι-κλίνιον). A set of three dining-couches arranged round a table, and thence the dining-room itself, especially the summer dining-room. In Christian archæology the _triclinium_ was an apartment attached to a Christian basilica, in which pilgrims were entertained. =Tricolor.= The French national standard—red, white, and blue—introduced at the period of the revolution of 1789. =Tricomos=, Gr. and R. A song for the third course of a banquet (κῶμος) at the festivals of Bacchus. The _comus_ was peculiar to the first, and the _tetracomos_ to the fourth course. =Tricot=, Fr. (1) Silk net. (2) A knitted cotton fabric. [Illustration: Fig. 661. Trident.] =Trident=, R. A three-pronged fork, the attribute of Neptune, used (1) for spearing fish; (2) by the class of gladiators called RETIARII; (3) as a goad for horses and cattle. =Triens=, R. A small copper coin current among the Romans; it was worth the third of an as, or about one farthing. It bore on the obverse a ship’s prow or a horse’s head, and four balls indicating four ounces (_unciæ_). =Trieterides=, Gr. (τρι-ετηρίδες). Festivals of Bacchus, held in Bœotia every third year. =Triforium=, Chr. A gallery over the side aisles of a church, open to the nave in arcades of three arches (_tres fores_). =Triga=, R. A car drawn by three horses yoked either abreast or with one in front. =Trigarium=, R. A field for the exercise of _trigæ_ and other chariots. =Triglyph=, Arch. (τρίγλυφος). An ornament consisting of three flutings or upright groovings separating the metopes in a Doric frieze. (Fig. 458.) =Trigonalis=, R. Three-cornered “catch-ball;” a subject on frescoes. [Illustration: Fig. 662. Trigonum opus.] =Trigonum=, Gr. and R. (τρίγωνον). (1) A mosaic of triangular pieces of marble, glass, terra-cotta, or other material (_sectilia_). Fig. 662 is from a pavement at the entrance of a house at Pompeii. (2) A musical stringed instrument; a triangular lyre, probably derived from Egypt. =Trilith=, Celt. (τρί-λιθος). A Celtic monument of three stones forming a kind of door. =Trilix=, R. In weaving, triple thread. (Compare BILIX.) =Trilobate=, Arch. Presenting three foils. =Trimodia=, R. A basket or vessel made to contain three modii (_tres modii_). =Trinity=, Chr. For a detailed account of the progressive series of representations in Art of the Holy Trinity, consult _Fairholt’s Dictionary_, _Didron’s Iconographie Chrétienne_, &c. =Triobolum=, Gr. A Greek silver coin of the value of three oboli. It was the established fee payable to an Athenian _dikast_ for the hearing of a cause. =Tripetia.= A Gallic term signifying a three-legged _stool_. [Illustration: Fig. 663. Tripod.] =Tripod= (Gr. τρί-πους). A vessel or table on three feet; esp. the slab at Delphi upon which the priestess of Apollo sat. (See DELPHICA, CORTINA.) =Tripping=, Her. In easy motion, as a stag. [Illustration: Fig. 664. Triptych carved in ivory with open doors.] =Triptych= (τρί-πτυχος, three-fold). A form of picture, generally for ecclesiastical purposes, in three panels; a centre, and two hanging doors worked on both sides. (Fig. 664.) =Tripudium=, R. The noise made by the grain as it fell from the beaks of the sacred chickens on to the ground; it was looked upon by the priest as a favourable omen; another name for it was _terripavium_ (striking the earth). (See AUSPICIUM.) =Triquetra=, Arch. A symmetrical interlaced ornament of early northern monuments. An endless line forming three arcs symmetrically interlaced will describe the figure. =Trireme=, R. (_tres_, and _remus_, oar). A galley with three banks of rowers. =Trisomus=, Chr. (τρί-σωμος). A triple sarcophagus. (Cf. BISOMUS.) =Trispastus=, R. (τρί-σπαστος, drawn three-fold). A block for raising weights; of three pullies (_orbiculi_), set in a single block (_trochlea_). =Triton.= A sea-monster; generally represented as blowing a shell (_murex_), and with a body above the waist like that of a man, and below like a dolphin. [Illustration: Fig. 665. Trophy on a triumphal arch.] =Triumphal Arch.= A monumental structure, usually a portico with one or more arches, erected across a public road for a triumphal procession to pass under. =Triumphalia=, R. Insignia conferred upon a general on the occasion of a triumph; consisting of a richly embroidered toga and tunic, a sceptre, a chaplet of laurel leaves with a crown of gold, and a chariot. =Triumphalis= (Via), R. The road traversed by a triumph. =Triumphus=, =Triumph=, R. The pageant of the entry of a victorious general into Rome. =Trivet=, Her. A circular or triangular iron frame with three feet, borne by the family of Tryvett. =Trivium=, R. (_tres_, and _via_, a way). A place where three roads meet. =Trochilus=, Arch. A concave moulding in classic architecture. (See SCOTIA.) =Trochlea=, R. (τροχιλέα). A machine for raising weights, very similar to the TRISPASTOS. =Trochus= (τροχὸς, a wheel). A hoop represented on ancient gems as driven by naked boys with a crooked stick, precisely in the existing school fashion. It was of bronze, often with rings attached. =Trombone.= A large trumpet with an arrangement of sliding tubes for modulating the tones by which every gradation of sound within its compass can be exactly produced. =Trophy=, Gr. (τρόπαιον). A monument of victory (τροπή). Fig. 665 represents a trophy of Gallic spoils, from a bas-relief on the triumphal arch at Orange. =Trotcosie=, Scotch. A warm covering for the head, neck, and breast, worn by travellers. [Illustration: Fig. 666. Trulla.] =Trua=, dim. =Trulla=, R. (1) A large flat ladle or spoon perforated with holes and used for skimming liquids when boiling. (2) A kind of drinking-cup. (3) A portable brazier or earthenware vessel perforated with holes (Fig. 666) for carrying hot coals about. (4) A mason’s trowel. =Trullissatio=, R. A coating of plaster or cement laid on by the trowel (_trulla_). =Trumeau=, Fr. A pier looking-glass. [Illustration: Fig. 667. Trumpet.] =Trumpet=, Her. The Roman _tuba_; a long straight tube expanded at its extremity. =Truncated.= With the top cut off parallel to the base. =Trunnions.= The side supports on which a cannon rests on its carriage. =Truss=, Arch. The system of timbers mutually supporting each other and the roof. =Trussed=, Her. Said of birds, with closed wings. =Trussing=, Her. Said of birds of prey, devouring. =Tuba=, R. A straight bronze trumpet with a small mouthpiece at one end, the other being wide and bell-shaped. (Cf. CORNU.) =Tubilustrum=, =Quinquatrus=, R. Festivals held at Rome twice a year, for the purification of trumpets (_tubæ_). =Tubla.= Assyrian drums, with skin at the top only. =Tuck=, O. E. A short sword or dagger, worn in the 16th and 17th centuries by all classes. =Tucket=, O. E. (It. _toccata_). A flourish on a trumpet. =Tudesco=, Sp. A wide cloak. =Tudor Arch=, Arch. An arch of four centres, flat for its span; having two of its centres in or near the spring, and the other two far below it. (_Rickman._) =Tudor Flower=, Arch. An ornament common to Elizabethan buildings. A flat flower, or leaf, as a crest or finish on cornices, &c. =Tudor Rose=, formed by the union of the white and red roses of York and Lancaster; is described in heraldry as a white rose charged upon a red one. (See Fig. 395.) =Tudor Style=, Arch. The style which prevailed under the Tudor dynasty. The term is loosely applied to various periods. (See PERPENDICULAR.) =Tufa.= A porous variety of limestone deposited by calcareous water. It hardens on exposure to the air; and was much used by the Romans for facing buildings, and generally, on account of its lightness, for vaulting. (See TRAVERTINE.) =Tugurium=, R. (_tego_, to cover). A thatched roof, and thence, a peasant’s hut. =Tulip-tree.= The wood of this tree is smooth and fine-grained, very easily wrought, and not liable to split. It is largely used in carving and ornamental work, and for panels in coach building. =Tulle=. A plain silk lace, blonde or net. =Tumblers.= The drinking-glasses so called take their name from their original shape, rounded at the bottom, so that they _tumbled_ over unless they were very carefully set down. Similar goblets are still made of wood in Germany; often with the inscription— “Trink’ mich aus, und leg’ mich nieder: Steh’ ich auf, so füll’ mich wieder.” [Illustration: Fig. 668. Plan of a Tumulus.] =Tumulus= (_tumeo_, to swell). Sepulchral mounds of ancient and prehistoric construction. The illustrations, figs. 668 and 669, show the plan and section of a Gallic tumulus opened at Fontenay le Marmion. [Illustration: Fig. 669. Section of a Tumulus.] =Tumulus Honorarius.= (See CENOTAPHIUM.) =Tunbridge Ware.= Inlaid-work of variously-coloured woods made at Tunbridge Wells in Kent. [Illustration: Fig. 670. Tunica muliebris, _talaris_.] =Tunica=, Gr. and R. A tunic; the principal garment worn both by men and women among the Greeks and Romans. It was a kind of woollen shirt confined round the neck and the waist; it came down as far as the knee; it had short sleeves which only covered the upper part of the arm. Tunics were classed as follows: the _exomis_, the _epomis_, the _chiton_, the _manicata_ or _manuleata_, the _talaris_, the _muliebris_, the _interior_ or _intima_, the _recta_, the _angusticlavia_, the _laticlavia_, the _patagiata_, the _palmata_, the _asema_, and the _picta_. (_Bosc._) (Fig. 670.) =Tunicatus=, Gr. and R. Wearing a tunic. =Tunicle=, Chr. (Lat. _subtile_). The vestment of the sub-deacon; it resembled the dalmatic, but had tight sleeves. =Turbo=, R. (Gr. βέμβιξ). A child’s whipping-top; the whorl of a spindle. =Turibulum.= (See THURIBLE.) =Turicremus.= (See THURICREMUS.) =Turkey Carpets= are made entirely of wool, the loops being larger than those of Brussels carpeting, and always cut; the cutting of the yarn gives the surface the appearance of velvet. =Turkey-stitch= (_point de Turquie_). A kind of carpet made at the Savonnerie, established 1627. =Turma=, R. A squadron of legionary cavalry; it consisted of thirty-two men commanded by a decurion, and led under a _vexillum_. =Turnbull’s Blue.= A light and delicate variety of _Prussian blue_. =Turner’s Yellow.= An oxychloride of lead, known also as _patent yellow_, and _Cassell yellow_. =Turquoise.= A valuable blue gem for ornamental purposes. (_S._) Fossil ivory impregnated with copper. (_F._) =Turrets=, Arch. (Fr. _tourette_, a small tower). Towers of great height in proportion to their diameter, and large pinnacles, are called turrets; these often contain staircases, and are sometimes crowned with small spires. Large towers often have turrets at their corners. =Turricula=, R. (dimin. of _turris_). A small tower; also, a dice-box in the form of a tower, to which the Greeks applied the term of _pyrgus_ (πύργος). _Turricula_ has a synonym FRITILLUS (q.v.). =Turriger=, R. Bearing a tower; the term applies both to an elephant and a ship of war when thus armed. =Turris=, =Tower=. In a general sense, any building or collection of buildings either lofty in themselves or built upon an elevation, and thence, fortifications, such as a tower of defence, the tower of a city gate or a castle, a DONJON (q.v.). =Tus= or =Thus=, R. Frankincense, imported from Arabia and used in great quantities by the ancients either for religious ceremonies or to perfume their apartments. =Tuscan Order of Architecture.= The simplest of the five ORDERS of classical architecture, having no ornament whatever; unknown to the Greeks; a variety of ROMAN DORIC (q.v.). The _column_ is about seven diameters high, including the base and capital. The _base_ is half a diameter in height; the _capital_ is of equal height, having a square _abacus_, with a small projecting fillet on the upper edge—under the abacus is an ovolo and a fillet with neck below; the _shaft_ is never fluted; the _entablature_ is quite plain, having neither _mutules_ nor _modillions_; the _frieze_ also is quite plain. =Tusses= or =Toothing-stones=, in building, are projecting stones for joining other buildings upon. =Tutulatus=, R. Having the hair arranged in the form of a cone, or wearing the sacerdotal cap called _tutulus_, and thence a priest who usually wore the TUTULUS (q.v.). =Tutulus= or =Apex=, R. (1) A flamen’s cap; it was conical and almost pointed. (2) A mode of arranging the hair on the crown of the head in the shape of a pyramid or cone. An example is seen in the Medicean Venus. =Twill.= A kind of ribbed cloth. =Tympanium=, R. (τυμπάνιον). A pearl shaped like a kettle-drum, namely, with one surface flat and the other round. [Illustration: Fig. 671. Tympanum. Romano-Byzantine.] =Tympanum=, R. (τύμπανον). (1) A tambourine, like that of modern times: a piece of stiff parchment stretched over a hoop with bells. (2) A drum-shaped wheel; _tympanum dentatum_, a cogged wheel. (3) In architecture, the flat surface, whether triangular or round, marked out by the mouldings of a pediment. Fig. 671 shows a tympanum of the Romano-Byzantine period. (For TRIANGULAR PEDIMENT, see Fig. 26.) =Tynes=, Scotch. (1) Branches of a stag’s antlers. (2) Teeth of a harrow. =Tyrian Purple.= An ancient dye of a brilliant colour, obtained from shells of the _murex_ and _purpura_. U. =U.= The letter repeated so as to mark the feathering upon tails of birds, is a peculiarity of Sicilian silks. =Udo=, R. A sock made of goat-skin, or felt. =Ulna=, R. A measure of length, subdivision of the foot measure. =Ultramarine= or =Lapis Lazuli= (_azurrum transmarinum_). A beautiful blue pigment obtained from lazulite, highly esteemed by early painters. In consequence of the costliness of this pigment its use in a picture was regulated by special contract, and it was either supplied or paid for by the person who ordered the picture. Lely has recorded that he paid for his as much as 4_l._ 10_s._ the ounce. The pigment is now artificially compounded. (Cf. GUIMET’S U.) =Umbella=, =Umbraculum=, R. (_umbra_, shade). An umbrella, made to open and shut like those of modern times. It is represented on vases held by a female slave over the head of her mistress. (See also UMBRELLAS.) =Umber.= A massive mineral pigment used by painters as a brown colour, and to make varnish dry quickly. _Raw umber_ is of an olive brown, which becomes much redder when _burnt_. (See OCHRES.) =Umbilici=, R. (lit. _navels_), were the ornamental bosses which projected from each end of the staff round which a volume of papyrus or parchment (_liber_) was rolled. They were also called _cornua_, and _geminæ frontes_. (See LIBER.) =Umbo= (Gr. ὀμφαλός). (1) The boss of a shield, often sharp and projecting so as to form an offensive weapon in itself. (2) A bunch formed by the folds of the toga tacked in to the belt across the chest. =Umbræ=, R. The shades of the departed; represented in the forms in which they abandoned life. Those killed in battle, _mutilated_, &c. =Umbrellas.= ANGLO-SAXON manuscripts sometimes represent a servant holding an umbrella over the head of his master. In the sculptures of ancient EGYPT and ASSYRIA they are represented borne by the attendants on a king. The GREEK and ROMAN ladies used parasols in all respects resembling those of modern times. In the PANATHENAIC procession the daughters of foreign settlers in Athens had to carry parasols over the heads of the Athenian maidens taking part in the procession. They were substituted later on by broad hats, the Roman PETASUS and the Greek THOLIA. In the SIAMESE empire an umbrella is the emblem of the royal dignity. [Illustration: Fig. 672. Umbril.] =Umbrere=, =Umbril=. In mediæval armour, a projection on a helmet acting as a guard to the eyes. =Umbril.= (See UMBRERE.) =Uncia= (Gr. οὐγκία, _Angl._ ounce). The _unit_ of measurement. The twelfth part of anything. In currency, a copper coin; the twelfth part of an As. Its value was expressed on the obverse and reverse by _one_ ball; in lineal measurement, the twelfth of a foot, whence our _inch_; in square measure, the twelfth of a _jugerum_; of liquids, the twelfth of a _sextarius_; in weight, the twelfth of a pound (_libra_). =Uncial Letters.= When writing on papyrus or vellum became common, many of the straight lines of the capitals, in that kind of writing, gradually acquired a _curved_ form. From the 6th to the 8th, or even 10th century, these _uncials_, or partly rounded capitals, prevail in illuminated MSS. (See also MINUSCULE, SEMI-UNCIALS.) =Uncus=, R. (ὄγκος). A hook such as (1) that with which the corpses of gladiators were dragged out of the arena; or those of criminals from the carnificina where they were executed. (2) The fluke of an anchor, &c. =Under-croft=, Arch. A subterranean chamber. [Illustration: Fig. 673. Undulated moulding.] =Undulated=, Arch. (_unda_, a wave). Moulded or sculptured in the form of a _wave_; as for instance the _undulated torus_. (See NEBULE.) (Fig. 673.) =Undy=, =Undée=, Her. Wavy. =Unguentaria=, R. Flasks or boxes of costly workmanship for holding perfumes, essences, oils, and salves, for use in the baths, &c. (See NARTHECIA.) [Illustration: Fig. 674. Unicorn. Device of the Orsini family.] =Unicorn.= In Christian art a symbol of purity, especially of female chastity. Attribute of St. Justina of Antioch. In Heraldry it is famous as the sinister supporter of the Royal Shield of England. The legend was that its body took the form of a horse and antelope, and it had one horn on its head. It was believed to live solitary in the woods, and could only be caught by a maiden. The property of detecting poison was attributed to its horn, and Hentzner, who visited England in 1598, says:— “We were shown at Windsor the horn of an Unicorn, of about eight spans and a half in length, valued at above 100_l._” It is frequently mentioned in ancient inventories:— “1391. Une manche d’or d’un essay de lincourne pour attoucher aux viandes de Monseigneur le Dauphin.” _Comptes Royaux_, quoted by Mrs. Bury Palliser. In allusion to this property, Alviano, the champion of the Orsini family, adopted as his device a unicorn at a fountain surrounded by snakes, toads, and other reptiles, and stirring up the water with its horn before he drinks, with the motto, “I expel poisons.” =Union Cloths.= Fabrics of wool with wefts of cotton. [Illustration: Fig. 675. Present Union Jack.] =Union Jack.= The National Ensign of the United Kingdom of Great Britain—exhibiting the Union of the crosses of St. George and St. Andrew combined—first displayed in the reign of James I., 1606. The flag as it is now used, dates from the beginning of this century. It is borne on a shield, charged in pretence upon the escutcheon of the Duke of Wellington. =Upapitha=, Hind. The pedestal of the Hindoo orders, which included, besides the pedestal properly so called, the base (_athisthama_), the pillar or shaft (_stambu_) which was either square or polygonal and only rounded at the upper part near the capital or _cushion_ which took its place, and lastly the entablature (_prastura_). =Uræus=, Egyp. A transcription of the Egyptian word _ârâ_ or the asp _hajé_, a kind of serpent called by the Greeks _basilicon_ (βασιλικόν). The _uræus_ as an emblem of the sovereign power forms the distinctive ornament in the head-dress of the Egyptian kings. [Illustration: Fig. 676. Plate of Urbino Ware, Louvre Museum.] =Urbino Ware=, made at Urbino, under the patronage of its Duke. “A city,” says Jacquemart, “which has supplied potters and painters to the greater part of the workshops of Italy; which has sent ceramic colonies to Flanders and Corfu, and yet we are scarcely acquainted with its works, except those of its decline.” (Fig. 676.) (See MAJOLICA.) =Urceolated= (Basket), Arch. The corbel of the capital which narrows a little underneath its upper part. =Urceolus.= Diminutive of URCEUS (q.v.). =Urceus=, R. An earthenware pitcher used in religious ceremonies; represented on coins in the form of a modern ewer. =Uriant=, Her. Said of a fish when it swims in a vertical position; head downwards. (Cf. HAURIANT.) [Illustration: Fig. 677. Funereal urn, Indian.] =Urn.= The common urn, the κάλπις of the Greeks, had a narrow neck and swelling body; it was used for conveying water from the fountain. The funereal cinerary urn was in general quadrangular, but there were a large number which resembled the _kalpis_, with the exception that they had a wider neck and were furnished in every case with a lid. Fig. 677 represents a funeral urn of Indian pottery, of very ancient date. The electoral urn, from which lots were drawn at the comitia to decide the order of voting, was of an oval form and had a narrow neck to prevent the possibility of more than one number being drawn out at a time. An urn is always introduced as an appropriate emblem of the river-gods. The _urna_ was a measure of capacity containing eight _congii_ or half an AMPHORA. =Urnarium=, R. A square table or hollow slab on which _urnæ_ or earthenware vessels were placed. =Ustrina=, =Ustrinum=, R. (_uro_, to burn). A public place for burning the bodies of the dead, in contradistinction to BUSTUM, a private place of cremation, situated within the sepulchral enclosure. It was in the public ustrina that the bodies of people of moderate means as well as the poor were burned. =Uter=, R. A wine-skin or large leathern bag made of goat-skin, pig-skin, or ox-hide, and used for holding wine or other liquids. _Uter unctus_ was a goat-skin inflated with air and thoroughly greased on the outside. The peasants of Greece were fond of dancing and leaping upon these wine-skins, which it was extremely difficult to do without frequent falls. This was a very popular rustic game, and formed a principal feature of the second day of the festival of Bacchus, called by the Greeks _Ascolia_ (Ἀσκώλια), ἀσκὸς being the Greek equivalent of _uter_. =Uti Rogas=, R. A voting formula affirmative of the proposition in debate, written on the ticket in the abbreviated form V. R. for _uti rogas_ (as you propose). =Utricularius=, R. (from _uter_). A performer on the bagpipe. =Utriculus.= Diminutive of UTER (q.v.). V. _In mediæval words the initials_ V _and_ B _occasionally interchange:—as_ Vanneria _for_ Banneria, _a banner, &c._ =Vacerra=, R. (_vacca_, a cow). An enclosure in which cattle were kept. =Vacons=, Hind. Hindoo genii which figure in the celestial hierarchy immediately after Brahma. They are eight in number, and each of them protects one of the eight regions of the world: Paoulestia is the guardian of the North or mineral wealth; Ima, god of the dead and the infernal regions, is the guardian of the South; Indra, god of the ether and the day, the guardian of the East; Pratcheta, god of waters and the ocean, the guardian of the West; Içania, who is looked upon as an incarnation of Siva, is the guardian of the North-East; Pavana, king of the winds, the guardian of the North-West; Agni or Pacava, the god of fire, is the guardian of the South-East; and Nirouti, the prince of the evil genii, is the guardian of the South-West. (_Bosc._) =Vagina=, R. The scabbard of a sword, made of wood or leather, and generally ornamented with plates and bosses of metal. (See Fig. 44.) =Vails= (from _Vale_, farewell!). Fees to servants from parting guests. =Vair.= The fur of the squirrel, much worn in state costumes of the 14th century. In Heraldry—one of the furs—represented as a series of small shields placed close together, alternately blue and white. =Valance.= Drapery hangings for furniture, cornices, &c.; hence— =Valenced.= Fringed with a beard. (_Shakespeare._) [Illustration: Fig. 678. Gilded Vase of Valencia, with votive inscription.] =Valencia Pottery.= M. Jacquemart considers this the most ancient and the true centre of the ceramic fabrication in Spain, carried back by tradition to the Roman domination. On the conquest of Spain from the Moors the Saracen potters of Valencia were protected by special charter. Fig. 678 is an illustration of the gilded ware for which Valencia is famous. [Illustration: Fig. 679. Valenciennes.] =Valenciennes.= The date of the introduction of the manufacture of this lace is unknown, although it existed before the time of Louis XIV., under whose reign it flourished and reached its climax between 1725 and