introduction of machine-made goods and European design. (Consult _Dr.

Birdwood’s Handbook of Indian Art_.) =Indian Ink= or =Chinese Ink=. A black pigment for water-colour painting, made from oil and lamp-black, thickened with some vegetable gum, and scented with musk or camphor. Many cheap and poor imitations of it are made. =Indian Ochre.= A red pigment. (See RED OCHRES.) =Indian Paper.= A delicate yellowish paper used for proof impressions in engraving. A Japanese paper of a similar quality is now frequently used. =Indian Red= or =Persian Red=. A purple earth commonly sold under this name is the peroxide of iron. It is of a deep hue, opaque and permanent, and useful both in oil and water-colour painting; mixed with white it forms valuable flesh-tints. (_Fairholt._) (See OCHRE, AMATITA.) =Indian Rubber=, =Caoutchouc=. An elastic gum; the sap of the _Siphonia elastica_, and several of the fig tribe in India and South America. It was brought into use early in the 18th century. In its natural state it is of a pale yellow brown. =Indian Yellow.= A golden yellow pigment and dye, said to be procured from the urine of the cow, or else from camel’s dung. It is used in water-colour painting, but is not usually permanent. In some parts of the East it is called PURREE. =Indigetes= (sc. _Di_), R. Indigenous gods. Heroes who were deified and worshipped as protectors of a place. The term is derived from _inde_ and _genitus_, meaning born in that place. Æneas, Faunus, Romulus, &c., were indigenous gods. =Indigo.= A deep blue pigment prepared from the leaves and branches of a small shrub; it is transparent, tolerably permanent, and mixes well with other pigments, forming excellent greens and purples. A deep brown, known as _indigo brown_ and a deep red resin, known as _indigo red_, may be extracted by purifying the blue colour obtained from this dye. The old blue dye of the aboriginal Britons was produced from _woad_ (isatis tinctoria). (_Fairholt._) (See INTENSE BLUE.) =Inescutcheon=, Her. An heraldic shield borne as a charge. =Inferiæ=, R. Sacrifices or offerings made at the tombs of the dead. =Infiammati.= A literary society of Padua in Italy. Device: Hercules upon the funeral pile on Mount Œta. Motto: “_Arso il mortal al ciel n’ andrà l’ eterno_.” =Infocati.= One of the Italian literary societies. Device: a bar of hot iron on an anvil, beaten by two hammers. Motto: “_In quascunque formas_.” =In Foliage=, Her. Bearing leaves. =Infrenatus= (sc. _eques_), R. A horseman who rides without a bridle (_frenum_), controlling his horse solely by the voice or the pressure of the knees upon its side. (Fig. 282.) =Infula=, R. A flock of red and white wool worn by priestesses and vestals and other Romans on festive or solemn occasions. In sacrificing also an infula was tied with a white band (_vitta_) upon the victim. Hence— =Infulæ=, Chr. Ribands hanging from a bishop’s mitre. =In Glory=, =In Splendour=, Her. The sun irradiated. =Inlaying.= Inserting ornaments in wood-work for decorative furniture. (See BOULE, MARQUETRY.) =In Lure=, Her. Wings conjoined, with their tips drooping. =Inoa.= Greek festivals in honour of Ino, esp. on the Corinthian Isthmus; they consisted of contests and sacrifices. (See MATRALIA.) =In Pretence=, Her. Placed upon, and in front of. [Illustration: Fig. 398. Peacock in pride.] =In Pride=, Her. Having the tail displayed, as a peacock’s. The illustration is the device of Joan of Castile: “A peacock, in his pride, upon the terrestrial globe.” (Fig. 398.) =Insensati of Perugia.= One of the Italian literary academies. Their device was a flock of cranes, arranged in order, flying across the sea, each with a stone in its foot and sand in its mouth. Mottoes, “_Vel cum pondere_” (even with this weight), or “_Iter tutissimum_,” in allusion to Pliny’s statement that the cranes used stones and sand for _ballast_, “wherewith they fly more steadily and endure the wind.” =Insignia=, R. (_in_, and _signum_, a mark). Generally, any object which serves as a mark or ornament for distinguished persons; a ceremonial badge, a badge of office, &c. (See ENSIGNS.) =Insubulum=, R. A weaver’s beam or roller, round which he rolled the cloth as it was made. =Insula=, R. A house, or block of houses, having a free space all round them. [Under the emperors the word _domus_ meant any house, detached or otherwise, where a family lived; and _insula_ meant a hired lodging.] =Intaglio=, It. A stone in which the engraved subject is sunk beneath the surface, and thus distinguished from a cameo, which is engraved in relief. =Intaglio-relievato= (It.), or _cavo-relievo_. Sunk-relief, in which the work is recessed within an outline, but still raised in flat relief, not projecting above the surface of the slab; as seen in the ancient Egyptian carvings. =Intense Blue.= A preparation of indigo, very durable and transparent. =Intense Madder Purple.= (See MADDER.) =Intercolumniation=, Arch. The space between two columns. This space varies according to the orders of architecture and the taste of the architect. According as the space is greater or less between the columns of a temple, the latter is called _aerostyle_, _eustyle_, _systyle_, and _pycnostyle_. Generally speaking, in the monuments of antiquity, whatever be the intercolumniation adopted, the space comprised between the two columns which face the door of the building is wider than the intercolumniation at the sides. =Intermetium=, R. The long barrier running down the arena of a circus between the two goals (_metæ_). (See META.) =Intermodillions=, Arch. The space included between two modillions (projecting brackets in the Corinthian order). This space is regular, and often decorated with various ornaments. In the Romano-Byzantine and Renaissance styles, modillions are often united by arcades. =Intertignium=, R. The space between the tie-beams (_tigna_) in the wood-work of a roof. =Interula=, R. (_interior_, inner). An undertunic; a kind of flannel chemise worn by both men and women. =Intestinum= (opus), R. (_intus_, within). The inner fittings or work of any kind in the inside of a house, and thence wood-work, JOINERY. [Illustration: Fig. 399. Part of the Façade of the Peruvian temple Inti-huasi.] =Inti= or =Punchau=, Peruv. The Sun or supreme god, inferior deities being called _conopa_ and _canopa_. The temple of the Sun was called _Inti-huasi_ (house of the Sun); it comprised seven principal divisions; the _inti_ or sanctuary, situated in the centre of the temple; the second division was called _mama-quilla_, from the fact of its being dedicated to the moon, which was thus named; the third was dedicated to the stars, called _cayllur_; the fourth to the thunder, and called _illapa_; the fifth to the rainbow, and called _ckuichi_; the sixth division was occupied by the chief priest (_huilacuma_); the seventh and last division formed the dwelling of the priests. =Intronati of Siena.= One of the Italian literary academies. Their device was a gourd for containing salt, with the motto, “_Meliora latent_” (the better part is hidden). =Iodine Scarlet= (_pure scarlet_). A pigment more brilliant than vermilion, very susceptible to metallic agency. =Iodine Yellow.= A very bright yellow pigment, very liable to change. [Illustration: Fig. 400. Ionic capital. From the Erechtheium, Athens.] =Ionic=, Arch. One of the orders of Grecian architecture, distinguished principally by the ornaments of its CAPITAL, which are spiral and are called VOLUTES, four in number. The Ionic SHAFT is about nine diameters high, including the BASE (which is half a diameter) and the CAPITAL, to the bottom of the volute. The PEDESTAL is a little taller and more ornamented than the Doric. The BASES used are very various. The Attic base is very often used, and, with an _astragal_ added above the upper _torus_, makes a beautiful and appropriate base for the Ionic. The CORNICES are (1) plain Grecian, or (2) the _dentil_ cornice, or (3) the _modillon_ cornice. The Ionic shaft may be fluted in twenty-four semicircular flutes with fillets between them. The best Ionic example was the temple on the Ilissus at Athens. The temple of Fortuna Virilis at Rome is an inferior specimen. (See also Figs. 69, 184.) =Irish Cloth=, white and red, in the reign of King John was much used in England. =Iron.= _Indian red_, _Venetian red_, _Mars red_, _Mars orange_, _Mars yellow_ are all coloured by iron (see MARS), and are valuable for their great durability. (See METALLURGY.) =Irradiated=, Her. Surrounded by rays of light. =Iseia=, Gr. and R. (Ἴσεια). Festivals in honour of Isis. Among the Romans they degenerated into mere licentiousness, and were abolished by the senate. =Iselastici Ludi=, Gr. and R. Athletic contests which gave the victor the right of returning to his native city in a chariot (εἰσελαύνειν); whence the name _iselastici_. These contests formed part of the four great games of Greece, viz. the Olympic, Pythian, Isthmian, and Nemean games. [Illustration: Fig. 400 a. Isodomum opus.] =Isodomos= or =Isodomum=, Gr. and R. (ἰσόδομος, i. e. equal course). A structure built in equal courses, that is, in such a way that the surface of each stone is of one uniform size, and that the joints of one layer are adjusted with those of another so as to correspond symmetrically. =Isokephaleia= (Gr. ἴσος, equal; κεφαλὴ, head). A rule in Greek sculpture by which the heads of all the figures on a bas-relief were of the same height from the ground. =Isometrical Perspective=, used for representing a bird’s-eye view of a place, combines the advantages of a ground-plan and elevation; only the lines of the base are made to converge, leaving the whole figure cubical, and without the expression of _distance_ from the point of sight. =Ispahan Tiles=, of the period of Shah-Abbas—16th century—are remarkable for exquisite design. =Italian Earth.= Burnt _Roman ochre_; resembles Venetian red in colour; and, mixed with white, yields valuable flesh-tints. (_Fairholt._) =Italian Pink=, or _yellow lake_. A transparent bright-coloured pigment, liable to change. (See YELLOW LAKE, PINKS.) =Italian Varnish.= A mixture of white wax and linseed oil, used as a vehicle in painting. It has good consistency, flows freely from the pencil, and is useful for glazing. =Ivory Black.= A pigment prepared by heating ivory shavings in an iron cylinder; when from bone, it is called _bone black_ (q.v.). The real ivory black is a fine, transparent, deep-toned pigment, extremely valuable in oil and water-colour painting. The _bone black_ (commonly sold as _ivory black_) is much browner. [Illustration: Fig. 401. Ivory carving. Sword-hilt of the 16th century.] [Illustration: Fig. 402. Ivory carving. Spoon of the 16th century.] =Ivory Carving.= This art, in considerable perfection, was known to prehistoric man at the period of the so called stone age. Egyptian and Assyrian specimens of the art are of a date at least as early as that of Moses. From the year 1000 B.C. down to the Christian era, there was a constant succession of artists in ivory in the western Asiatic countries, in Egypt, in Greece, and in Italy. From the time of Augustus, ivory carving shared in the general decline of art. Increasing in number as they come nearer to the Middle Ages, we can refer to carved ivories of every century, preserved in museums in England and abroad. The most important ivories up to the 7th century are the consular _diptychs_, originally a favourite form of presents from newly-appointed consuls to eminent persons; subsequently adapted to Christian uses, or as wedding presents, &c. In the Middle Ages, from the 8th to the 16th century, the use of ivory was adopted for general purposes. The favourite subjects of the carvings are those drawn from the romances of the Middle Ages—especially the romance of the Rose—and in the 15th century, scenes of domestic life, illustrating the dress, armour, and manners and customs of the day. Combs of every date, from the Roman and Anglo-Saxon period, and earlier, are found in British graves. In short, from the time when the first prehistoric carvings of antediluvian animals were made to the present, every age of human civilization appears to be more or less fully illustrated in carvings upon ivory and bone. (See also CHESSMEN.) The earliest material was found in the tusks of the mammoth: from Iceland we have beautiful carvings of the 7th century in the teeth of the walrus. Fossil tusks of the mammoth are found in great quantities in Siberia, and are almost the only material of the ivory-turner’s work in Russia. African and Asiatic elephant ivory are the best, and differ, the former, when newly cut, being of a mellow, warm, transparent tint. Asiatic ivory tends to become yellow by exposure. A fine specimen of carving in ivory is given in Fig. 403 from a MIRROR-CASE of the 15th century. (See also Fig. 185, and illustrations to PYX, TRIPTYCH, &c.) [Illustration: Fig. 403. Ivory carving, 15th century.] =Ivy=, Chr. The symbol of eternal life. =Iwbwb=, Celt. The ancient military cry, which has given name to many places; as Cwm Iwbwb, in Wales, the Jujupania of Ptolemy. (_Meyrick._) =Izeds=, Persian. Beneficent genii of the mythology of Zoroaster. Ormuzd, the supreme god, created twenty-eight of them to be the attendants of the _amchaspands_. J. =Jacinth.= A precious stone. (See HYACINTH.) =Jack-boots= (O. E.) were introduced in the 17th century. =Jackes=, O. E. (1) Towels. (2) The roller for a well-rope. =Jacket= or =Jack=, =Jerkin=, &c., O. E.; worn over the doublet; but the names are applied indiscriminately to a great variety of such garments. =Jacob’s Staff=, O. E. A pilgrim’s staff. =Jacobus.= An English coin of James I., value 25_s._, weighing 6 dwt. 10 grains. The _Carolus_, a similar coin, value 23_s._, weighed 5 dwt. 20 grains. =Jaculatores=, R. Soldiers armed with a javelin (_jaculum_), who formed part of the light troops of the Roman army. =Jade.= Spanish _piedra de la yjada_. A green stone, closely resembling jasper, much used by prehistoric man, and to which supernatural virtues have in all ages been attributed, especially by the ancient Mexicans. Fine specimens of jades are carved in China, where they are of a whitish colour, and are called _Yu_. The clear white and green specimens are the most prized by collectors. (See NEPHRITE, SAUSSURITE.) =Jagerant.= (See JAZERINE.) =Jamb=, Arch. The side of any opening in a wall. =Jambe=, =Gambe=, Her. The leg of a lion or other beast of prey. =Jambes.= Armour for the legs; 14th century. =Janua=, R. (_Janus_). The front door of a house opening on the street. The inner doors were called _ostia_, in the singular _ostium_, while the city gates were called _portæ_. =Januales=, =Janualia=, R. Festivals held at Rome, in honour of Janus, on the first or kalends of January in each year; the offerings consisted of incense, fruits, and a cake called _janual_. =Japanese Paper= of a creamy tint is frequently used for proof impressions of etchings, &c. =Japanning.= A species of lac-varnishing, in imitation of the lacquered ware of Japan. (See LAC, LACQUER.) =Jasper.= A kind of agate, the best known description of which is of a green colour. Many colours and varieties are used for gem-engraving, such as agate-jasper, striped jasper, Egyptian red and brown, and porcelain jasper. In the Christian religion the jasper symbolizes faith; its hardness expresses the firmness of faith; its opaqueness the impenetrability of the mysterious. =Jasponyx.= An onyx mixed with jasper. =Javelin.= A light hand-spear. (See HASTA.) =Jayada.= (See VIMANA.) =Jazel.= A precious stone of an azure blue colour. =Jazerine= (It. _ghiazerino_). A jacket strengthened with overlapping plates of steel, covered with velvet or cloth, and sometimes ornamented with brass; 13th century. =Jennet.= A Spanish or Barbary horse. =Jerkin=, O. E. The jerkin was generally worn over the doublet; but occasionally the doublet was worn alone, and in many instances is confounded with the jerkin. Either had sleeves or not, as the wearer pleased. “My jerkin is a doublet.” (_Shakspeare._) =Jessant=, Her. Shooting forth, as plants growing out of the earth. [Illustration: Fig. 404. Jessant-de-lys.] =Jessant-de-lys=, Her. A combination of a lion’s face and a fleur-de-lys. =Jesse=, O. E. A large branched chandelier. =Jesse, Tree of=, Chr. An ornamental design common in early Christian art, representing the genealogy of our Lord in the persons of his ancestors in the flesh. =Jesseraunt.= (See JAZERINE.) [Illustration: Fig. 405. Hawk’s bells and Jesses.] =Jesses.= Straps for hawk’s bells. (See Fig. 405.) =Jet.= A variety of soft bituminous coal, admitting of a fine polish, which is used for ornaments. It is, in its natural state, soft and brittle, of a velvet-black colour, and lustrous. Ornaments of jet are found in ancient _tumuli_. =Jet d’Eau=, Fr. A fountain. That at Chatsworth springs 267 feet in the air, and is the highest in existence. =Jew’s Harp= or =Jew’s Trump= (from the French _jeu_ and _trompe_). A small musical instrument, known for centuries all over Europe, consisting of a metal frame with two branches, and a vibrating tongue of steel in the middle. It has suggested a number of modern instruments, including the HARMONIUM. =Jew’s Pitch.= A kind of _asphaltum_ used as a brown pigment. It attracts dust, and never dries perfectly. =Jewes Light=, O. E. (See _Judas Light_.) =Jogues= or =Yugs=. In Hindoo chronology, eras or periods of years. (1) The _Suttee Yug_, or age of purity, lasted 3,200,000 years; the life of man being then 100,000 years, and his stature 21 cubits. (2) The _Tirtar Yug_, in which one-third of man was corrupted, lasted 2,400,000 years; the life of man being then 10,000 years. (3) The _Dwapaar Yug_, in which half the human race became depraved, lasted 1,600,000 years; the life of man being 1000 years. (4) The _Collee Yug_, in which all mankind are corrupt, is the present era, ordained to subsist 400,000 years (of which about 5000 have elapsed); the life of man being limited to 100 years. There are, however, conflicting accounts of the duration of the different _Jogues_. (See _Halhed’s Preface to the Gentoo Laws_.) =Joinery= (in Latin, _intestinum opus_) has to deal with the addition in a building of all the fixed wood-work necessary for convenience or ornament. The most celebrated work on the subject is _Nicholson’s Carpenter’s Guide, and Carpenters and Joiner’s Assistant_, published in