1252. The badge of silk, gold, and pearls was tied in a knot upon the

arm, and those who were invested with it made a vow to untie it at Jerusalem. (Fig. 410 and 410 a.) =Knuckle-bones.= (See TALUS.) =Koope=, O. E. A cope. =Koukim=, Heb. Kilns for the cremation of the dead, such as are occasionally found in the ancient tombs of the Valley of Hinnom (Gehenna). =Kourganes=, Or. Grassy mounds, such as are frequently met with in Russia in Europe, and which bear a strong resemblance to _tumuli_ and _barrows_. (See TUMULUS.) =Krems White= or =Vienna White=. A pigment manufactured at Krems in Austria. It is the finest white lead used in oils. =Krouts=, Hind. An ornament resembling embroidery. The monuments of Khmer art are adorned with krouts of a rich ornamentation, somewhat similar to certain ornaments of the French Renaissance. (See Fig. 408.) =Krumhorn.= An old musical instrument of the cornet kind. =Kufic.= (See CUFIC.) =Kussier.= A Turkish musical instrument, consisting of five strings, stretched over a skin that covers a kind of basin. =Kymbium.= (See CYMBIUM.) =Kyphi=, Egyp. A perfume which was burnt before the statues of the gods; it was composed of sixteen different ingredients. L. =Labarum=, =Chrism=, R. The standard of the Roman emperors from the time of Constantine; in form it resembled the _vexillum_ of the cavalry. The Labarum is the banner of the Chrism, or sign that appeared to Constantine, viz. the Greek letters XP in a monogram (the two first letters of the Name ΧΡΙΣΤΟΣ); sometimes followed by the Roman letters IHSV, or the motto in full, “_in hoc signo vinces_.” It is, under several variations, a common ecclesiastical emblem. =Labellum.= Dimin. of LABRUM (q.v.). [Illustration: Heraldic Labels. Fig. 411. Labels of 3 points. Label of 5 points.] =Labels=, in heraldry, are marks of _cadency_. (1) A band crossing the shield, with three points depending, marks the coat of an eldest son. (2) Broad ribands hanging from a knight’s helmet. (3) In mediæval architecture and church decoration, images of saints and angels bear _labels_ inscribed with texts and mottoes. =Labis.= (See SPOON.) =Labrum=, R. (lit. a lip). A general term to denote any kind of vessel the brim of which turned over on the outside like the lip of the human mouth; a wide flat basin which stood in the thermal chamber or CALDARIUM (q.v.) of the Roman baths. [Illustration: Fig. 412. Labyrinth.] =Labyrinth=, Gen. (λαβύρινθος). A building of considerable size, usually underground, containing streets and cross-roads, like the catacombs, &c. The term is also applied to intricate designs executed on the grass-plots of gardens, and on the mosaic or glazed tiles in pavements. (Fig. 412.) (See MINOTAUR.) =Lac= or =Gum Lac= (Arabic, _lakah_). A resin produced on an East Indian tree by the punctures of the _Coccus lacca_ insect. It forms a brittle substance of a dark red colour, and when in grains is called _seed lac_, and in thin flat plates _shell-lac_. (See LACQUER.) The chief use of _lac_ in Europe is for making sealing-wax, and as a basis for _spirit varnishes_ and _French polish_. [Illustration: Fig. 413. Point de France (pillow-made), 17th century.] =Lace= was originally of a heavy texture, more like embroidery. It was of two kinds, _lacis_, or “darned netting,” and “_cutwork_.” _Lacis_, often worked in coloured silks and gold thread, was also called “opus araneum” or “spider-work.” In “_cutwork_,” a net of threads was laid on to cloth, and the cloth sewn to it in parts, and the other parts cut away; or, by another method, the threads were arranged on a frame, all radiating from a common centre, and then worked into patterns. This was the old convent lace of Italy, called “_Greek lace_.” _Point laces_ are lace made with a needle on a parchment pattern. The principal are the ancient laces of Italy, Spain, and Portugal; and the modern _point d’Alençon_ of France. _Pillow laces_ are made by the weaving, twisting, and plaiting of the threads with bobbins on a _cushion_; such are Mechlin, Lille, Valenciennes, Honiton, Buckingham, and many manufactories in France. _Brussels lace_ is both _point_ and _pillow_. The thread is scarcely visible for fineness, and costs 240_l._ per pound. This lace is called in France _point d’Angleterre_, or _English point_. (Fig. 414.) [Illustration: Fig. 414. Old Brussels or Point d’Angleterre.] =Lace Glass.= (See GLASS.) =Lacerna=, R. An open cloak worn by the Romans over the _toga_, and fastened on the right shoulder with a brooch or fibula. It frequently had a cowl attached. (See ABOLLA, PÆNULA, PALLIUM.) =Lachrymatory.= A tear-bottle; so called from the use attributed to it of holding tears consecrated to the dead. These phials are made of glass or earthenware, with a long neck, and the mouth formed to receive the eye-ball. The figure of one or two eyes has sometimes been found impressed upon them. =Lacinia=, R. The two excrescences, like a divided dewlap on the throat of a goat, which were represented on the necks of fauns and satyrs. =Laciniæ=, Gr. and R. The hanging corners of the _toga_ and _chlamys_, and the metal knobs attached to make them hang straight. =Lacis.= A kind of embroidery, of subjects in squares, with counted stitches (called also “point conté,” darned netting, &c.). (See LACE.) =Laconicum=, R. A semicircular termination to a room in a set of baths (_caldarium_), so called because of Spartan origin. Under the word BALNEÆ will be found the _laconicum_ of Pompeii, restored. (Fig. 56.) =Lacquer= (Fr. _laque_) is made of a solution of shell-lac and alcohol, coloured with saffron or other colouring matters. Specimens of ancient Chinese red lacquer deeply carved with figures of birds, flowers, &c., and generally made in the form of trays, boxes, and sometimes vases, are met with in the more northern Chinese towns, and are much prized. What is called the _old gold Japan lacquer_ is also esteemed by Chinese connoisseurs, and the specimens of this are comparatively rare at the present day. (_Fortune._) =Lacs d’amour=, Fr. True lovers’ knots. =Lacuna=, R. (_lacus_, a hollow). An ash-pit placed beneath a lime-kiln to receive the ashes from the kiln. =Lacunar=, Arch. A flat roof or ceiling, in contradistinction to a _camera_, vaulted roof. =Lacunaria=, Arch. Panels in a flat ceiling (_lacunar_), formed by the rafters crossing one another at right angles. The edges of these panels are often decorated with carved and gilt ornaments, and the centres filled in with paintings. =Lacus=, R. (λάκκος). A lake, and thence a large, shallow, open basin, or artificial reservoir; also, a pit made below the level of a wine-cellar (_cella vinaria_), or of an oil-cellar (_cella olearis_), to receive the wine or oil as it comes from the presses. =Lady.= A word of Saxon origin, generally supposed to signify “loaf-giver,” from _klaf_, a loaf. As a title it belongs to the daughters of all peers above the rank of a viscount, but is extended by courtesy to the wives of knights. =Lady Day=, Chr. The 25th of March. Festival of the Annunciation. =Læna=, R. (1) A cloth with a long nap. (2) A thick woollen cloak worn over the toga for the sake of warmth. In later times the læna was often worn as a substitute for the toga. =Lagena=, Gr. and R. An earthenware vessel with a swelling body, used for holding wine or vegetables and dried fruits. =Laid Papers.= Papers with a ribbed surface; as cream-laid, blue-laid, &c. =Lake, Cloth of=, O. E. Linen for under-garments. =Lakes.= (See CARMINE.) Pigments of a fine crimson red colour, of which there are several kinds; they are prepared from cochineal, kermes, lac, and the best from madder-root. Common lake is obtained from Brazil wood, which affords a very fugitive colour. (See YELLOW LAKE, PURPLE LAKES, GREEN LAKES, CARMINATED LAKES, DROP LAKE, RED LAKE, MINERAL LAKE, MADDER, &c.) =Lakes= of _Florence_, _Paris_, _Vienna_, &c. (See CARMINATED LAKES.) =Lamb.= The peculiar symbol of the Redeemer, generally the emblem of innocence, meekness, modesty. It is properly called the Paschal Lamb, and with a flag, or between two stars and a crescent, was the badge of the Knights Templars. (See AGNUS DEI.) =Lamboys= (Fr. _lambeau_). A kind of skirt over the thighs, worn over the armour. (See Fig. 463.) =Lambrequin.= A covering for the helmet. (See MANTLING.) =Lamb’s-wool=, O. E. A drink of ale with the pulp of roasted apples in it. =Lames=, Fr. Flexible plates or _blades_ of steel, worn over the hips. =Lametta.= Brass, silver, or gold foil or wire. =Lamiæ=, Gr. and R. Vampires who fed at night on the flesh of human beings. The Lamiæ of Pliny are animals with the face and head of a woman, and the tail of a serpent, inhabiting the deserts of Africa. =Laminated.= Disposed in layers or plates. =Lammas=, O. E. The 1st of August. [Illustration: Fig. 415. Roman Lamp.] =Lamp=, =Lantern=, or =Taper=, in Christian art, was an emblem of piety; an attribute of St. Lucia. (See LUCERNA, LYCHNUS, LANTERN.) =Lampadephoria=, Gr. (torch-bearing). A game common throughout Greece, in which the competitors raced, either on foot or horseback, six stadia (about three-quarters of a mile), carrying lamps prepared for the purpose. (See LAMPAS.) =Lampas=, Gr. and R. A general term denoting anything which shines or affords light; a torch, a lamp, and especially a link. The word was frequently used for _lampadephoria_, the _torch-race_. =Lamp-black.= A soot used as a pigment. It is very opaque, and dries slowly in oil. It is also the basis of all printing and lithographic inks. [Illustration: Fig. 416. Device of Catherine de’ Medicis.] =Lance.= In Christian art, the attribute of St. Matthias, in allusion to the method of his martyrdom. (See AMENTUM, LANCEA, HASTA.) A shivered lance with the motto “Lacrymæ hinc, hinc dolor,” was a device adopted by Catherine de’ Medicis after the fatal accident to her husband, Henry II., in a tournament. (Fig. 416.) =Lance-rest.= A projecting iron fixed to a breastplate to support the end of the lance in a joust or tournament. =Lancea=, R. A long, light spear, serving both as a pike and a missile. =Lanceola.= Dimin. of LANCEA (q.v.). =Lanceolated=, Arch. Having the form of a spear-head. The term is applied to lancet windows, arches, and members of architecture forming a rose. [Illustration: Fig. 417. Lancet Arch. 13th century.] =Lancet Arch.= A pointed arch, obtuse at the point, resembling a surgeon’s lancet, from which a style of architecture, common in England in the 13th century, is named. (Fig. 417.) (See EARLY ENGLISH ARCHITECTURE.) [Illustration: Fig. 418. Lancula.] =Lancula=, R. (dimin. of LANX). The scale which was placed, when necessary, at one of the ends of a Roman steelyard (_statera_). (Fig. 418.) =Landgrave= (Germ. _Land, Graf_). A title given to those Counts of Germany who take their rank from a large tract of land. The first _Landgraves_ were those of Thuringia, Hesse, Alsace, and Leuchtenberg. =Langue-de-bœuf=, Fr. A blade fixed to a pikestaff; named after its shape. =Langued=, Her. To denote the tincture of an animal’s tongue. =Laniarium=, =Laniena=, R. (_lanius_, a butcher). A slaughter-house or butcher’s shop. =Laniers=, O. E. Leather straps for various uses; as armlets to a shield, or as garters or bands, &c. =Lanipendia=, R. (_lana_, wool, and _pendere_, to weigh). A woman whose duty it was to weigh the wool for spinning, and distribute it among the slaves for their daily tasks. =Lanista=, R. A man who trained gladiators for the Roman circus. They were frequently his own property, and he let them out for hire; or he received them from their owners into his _school_ (ludus) for training. =Lansquenet=, Fr. A game at cards. [Illustration: Fig. 419. Old English Horn Lantern.] =Lantern.= In Christian art, the attribute of St. Gudula, in allusion to the legend of her miraculous lantern, which her prayers rekindled as often as Satan extinguished it. In Architecture, a small turret above the roof of a building, having windows all round it. [Illustration: Fig. 420. Lanterne des Morts.] =Lanterne des Morts= or =Churchyard Beacon=, Arch. A small tower raised upon a base, and generally round, but sometimes square or polygonal; with windows at the top to emit the shining rays from the lamp inside. Fig. 420 represents a “lanterne des morts” at Ciron, France. =Lanx=, R. This term denotes (1) a circular dish of silver or other metal, often embossed, used especially at banquets. (2) The scale of a balance (_libra_). (3) A salver for handing fruits or other dainties at dessert. =Laocoon.= A magnificent sculpture, found in 1506 among the ruins of the palace of Titus, now in the Vatican. It represents Laocoon and his two sons struggling in the folds of two monster serpents. According to Pliny it is the work of three Rhodian sculptors, Agesander, Polydorus, and Athenodorus, and stood in the palace of Titus. He said that it was made of one stone, but the joining of five pieces has been detected. [See _Lessing’s_ “_Laokoon_.”] =Laphria=, Gr. An annual festival, celebrated at Patræ in Achaia, in honour of Artemis, surnamed Laphria. =Lapidary.= An artist who cuts, grinds, and polishes gems and stones. In the lapidary’s _scale of hardness_ of minerals there are 10 standard degrees, represented as follows:—No. 1, _talc_, which is very easily cut; No. 2, _compact gypsum_; No. 3, _calc-spar_; No. 4, _fluor-spar_; No. 5, _apatite_; No. 6, _felspar_; No. 7, _quartz_; No. 8, _topaz_; No. 9, _sapphire_; No. 10, _diamond_. Diamonds are for the most part cut at Amsterdam. =Lapis Lazuli.= A beautiful blue mineral stone of various shades of colour. (See ULTRAMARINE.) =Laquear=, =Laqueare=. Synonym of LACUNAR (q.v.). =Laqueatores=, R. An order of gladiators who used a noose to catch their adversaries. =Laqueatus=, R. A ceiling decorated with panels (_lacunar_). =Lararium=, R. A small shrine consecrated to the gods called Lares; a room in which the images of the Lares or tutelary genii of the house were placed. It is said to have been customary for religious Romans, immediately after they rose in the morning, to pray in the Lararium. =Larentalia=, =Larentinalia=, or =Laurentalia=, R. A Roman festival in honour of Acca Larentia, the nurse of Romulus and Remus; or, according to another tradition, a festival instituted by Ancus in honour of a wealthy courtezan named Larentia, who had bequeathed all her property to the Roman people. It was celebrated on the 10th of December. =Lares=, R. The Lares Privati, Domestici, or Familiares, were the guardian deities of the house. The spot peculiarly sacred to them was the _focus_, or hearth, in the Atrium, where the altar for domestic sacrifice stood, and near it was a niche, containing little images of these gods, to whom offerings of flowers, frankincense, and wine were made from time to time, and regularly on the kalends of each month. There were many classes of Lares Publici: (1) The Lares rurales, who presided over the flocks, herds, &c. (2) The Lares compitales, worshipped where two cross-roads met, &c. [Cf. Ovid, Fasti, v. 129.] =Larghetto=, It. In Music, less slow than _largo_. =Largo=, It. In Music, a slow movement, one degree quicker than _adagio_. =Latch=, O. E. A cross-bow. =Lateen Sail.= A triangular mainsail on a tall sloping yard, which reaches down to the deck. =Later=, R. A brick; the πλίνθος of the Greeks. Among the Romans bricks were of various forms; the largest was called _pentadorum_; the next size, _tetradorum_. _Later coctus_, _coctilis_ was the term applied to a baked brick; _later crudus_ was an unbaked brick, i. e. one dried in the sun. Pliny calls the brick-field LATERARIA. =Latericium= (opus), R. A structure built of bricks. =Laterna=, =Lanterna=. A LANTERN (q.v.). =Laton= or =Latten=, O. E. An alloy of brass, of which candlesticks, sepulchral monuments, crosses, &c., were made in the Middle Ages. White Laton was a mixture of brass and tin. =Latrunculi=, R. (Gr. πεσσοί). The ancient game of draughts. It is mentioned by Homer. The Romans often had twelve lines of squares (_mandræ_) on the draught-board. The number of pieces varied from five to twelve, and in later times the game was played with the _tesseræ_ or dice. =Lattice=, Arch. A trellis or cross-barred work; a network window. =Laura=, Chr. The origin of the name is obscure. It signifies a collection of separate cells in a wilderness, where a community of monks lived each in his own cell, meeting together only during two days of the week. The most celebrated _lauras_ were in Palestine. =Laurel=, Gen. The emblem of glory and victory. Sacred also to Apollo. In modern times an emblem of peace. =Lautumiæ=, R. (λα-τομία). A stone-quarry, and thence a prison hewn out of a quarry, more particularly the public prison of Syracuse, hewn into the solid cliff, but roofless. The Tullianum at Rome was called Lautumiæ also. =Lava.= The scoria from an active volcano, which is well adapted to ornamental carving. =Lavabo.= (See LAVATORIUM.) =Lavacrum=, R. (_lavo_, to wash). A bath of hot or cold water, in contradistinction to a vapour bath (_caldarium_). =Lavatorium=, R. (_lavo_, to wash). A small building in a monastery, in which the monks washed their hands before and after a repast. The _lavatorium_ was usually placed near the refectory. =Lawn.= This fine linen fabric was introduced in the reign of Queen Elizabeth. =Lay Figure.= A large wooden jointed doll, used by artists to display drapery. =Lead-glazed Wares.= (See POTTERY.) [Illustration: Fig. 421. Stamped gilt and painted leather hangings illustrating a pictorial arrangement of pattern.] =Leather= was used instead of tapestry for the hangings of rooms in the 16th century, and was beautifully gilded and chased. (Consult “L’Art de travailler les Cuirs dorés ou argentés,” by M. Fougeroux de Bondary, in “Description des Arts et Metiers,” 1762.) (Fig. 421.) =Leaves=, Her. Their peculiarities are blazoned as laurel leaf, oak leaf, &c. =Leaves=, =Leafage=. (See FOLIAGE.) =Lebes=, Gr. (λέβης; λείβη, to pour out). A brass saucepan or caldron (_pelvis_, _ahenum_); it was a deep vessel with swelling sides. It was sometimes made with a pointed bottom to fit into a stand, which was called INCITEGA. =Lebiton=, =Lebitonarium=. (See COLOBIUM.) =Lecanê=, Gr. A drinking-bowl used by the Etrurians (basin-shaped, with a lid). =Lectern.= A reading-desk in a Christian church; most frequently of brass in the form of an eagle, but often decorated with more elaborate emblems. =Lectica=, R. (_lectus_, a couch). A couch or litter carried by bearers, used both by men and women; it was introduced from the East, and was quickly adopted in Greece and Rome. The Greek litter had a roof made of the skin of an ox, and the sides covered with curtains. Among the Romans it was seldom used excepting for travelling, until the luxurious days of the empire, when the lectica became a very splendid affair. It was sometimes constructed with gold and ivory, and instead of curtains it was closed at the sides, with windows of transparent stone (_lapis specularis_). When standing, it rested on four feet. It was borne upon poles (_asseres_) by two or more slaves, and was called hexophron, octophron, &c., according to the number of _lecticarii_ employed to carry it. =Lecticula.= Dimin. of _lectica_; it denoted a litter for the conveyance of the sick, or a bier on which a dead body was carried out. =Lectisternium=, R. (_lectus_, and _sterno_, to spread out). A religious ceremony consisting of a banquet offered to the gods, at which the statues of the latter were present stretched out on couches, with tables and viands before them as if they were partaking of the feast. =Lectorium=, Chr. (_lector_, a reader). An old term afterwards replaced by that of AMBO (q.v.). =Lectrin=, Chr. An old term now replaced by _jubé_ or rood-loft and desk. =Lectrum=, Chr. An old term denoting a praying-desk. =Lectus=, R. (_lego_, to put together). A bed or couch complete; _lectus cubicularis_, a sleeping-couch; _lectus genialis_, a nuptial bed; _lectus adversus_, a symbolical marriage-bed; _lectus triclinaris_, a dining-couch, a couch for three persons, placed in the _triclinium_ or dining-room; _lectus funebris_, a funeral bier. The diminutive of this term is _lectulus_. The _lectus cubicularis_ resembled an old-fashioned sofa with a high back; being of considerable height, it was reached by means of a footstool (_scamnum_), or a set of steps (_gradus_). The _lectus genialis_ (Gr. εὐνὴ) or marriage-bed was still higher, larger, and handsomely decorated; it is represented with a flight of steps at the foot. The _lectus adversus_ was a symbolical marriage-bed, and stood in the atrium, opposite to the entrance of the house, and was, as it were, the throne or seat of office, from which the housewife superintended the spinning, weaving, and similar duties of the servants. The _lectus triclinaris_ used at meals is described under the article. _Lectus funebris_ is the name of the bier upon which the dead were borne to burial or the pyre. [Illustration: Fig. 422. Lecythus.] =Lecythus=, Gr. A cylindrical vase made to contain oil or perfumes. It often figures in the hands of goddesses, or of females at the toilet; and is mostly ornamented with delicate paintings and choice subjects. (Fig. 422.) =Ledger=, Arch. A stone slab. =Ledger Lines.= In Music, extra lines above or below the five ruled lines. =Ledgment=, Arch. A horizontal course of stone or mouldings, particularly the base moulding. =Leet=, O. E. An ancient Anglo-Saxon court of justice; a manor court. =Legato=, It. Literally, “bound;” in Music signifies “in a smooth and gliding manner.” =Legend.= In Numismatics, the words round the _edge_ of a medal or coin. =Leghorn.= A kind of straw plait, first invented at Leghorn. =Legio=, R. (_lego_, to collect). A Roman legion; a division of the army consisting of from three to six thousand heavy-armed soldiers, who were called _legionarii_. Twelve thousand legionaries were required to make up a consular army. The legion contained troops of all arms; infantry, cavalry, and the ancient substitutes for artillery; and was an army complete in itself. The numbers varied, as well as the organization, at different periods. Livy speaks of legions of 5000 infantry and 300 horse. The subject is one demanding voluminous description. The legion was subdivided into Cohortes, Manipuli, Centuriæ, Signa, Ordines, Contubernia. =Leice=, Celt. Also called _meanal leice_. The stone of destiny; a large crystal kept by the Druids for soothsaying. =Leister= or =Lister=, Scotch. A trident or many-pronged spear for striking fish. =Leming Star=, O. E. (from A.S. _leme_, brightness). A comet. =Lemman= (A.S. _leof_=loved, and _man_). A sweetheart, &c. =Lemnian Reddle.= An _ochre_ of a deep red colour and firm consistence, used as a pigment. =Lemniscus=, R. (λημνίσκος; λῆνος, wool). A fillet or ribbon awarded, as a mark of honour, to a person who had distinguished himself in any way. The person who wore it was called _lemniscatus_. It hung down from crowns or diadems at the back of the head. _Lemnisci_ were also worn, without _coronæ_, by ladies for ornament. Hence, in Geometry, a curve of the form of the figure 8 is called _lemniscata_. =Lemon Yellow.= A bright pigment, brighter and clearer than Naples yellow or masticot, and not liable to change. =Lemures= or =Manes=, R. The souls of the dead, who, according to the religious belief of the Romans, were transformed into beneficent or evil genii, according as the individual had been during his life good or bad, virtuous or worthless. “_Lares_ si meriti boni sint; _Lemures_ sive _Larvas_ si mali; _Manes_ autem cum incertum est,” says St. Augustine. =Lemuria.= Festivals in honour of the Lemures celebrated at Rome, at night and in silence, on the 9th, 11th, and 13th of May. During them the temples of the gods were closed, and marriage was considered unlucky; hence the proverb, _Mense Maio male nubent_. Those who celebrated the Lemuria walked barefooted, washed their hands three times, and threw black beans nine times behind their backs. On the second of the three days there were games in the circus in honour of Mars, and on the third day the images of the thirty Argei, made of rushes, were thrown from the Pons Sublicius into the Tiber by the Vestal virgins. On the same day there was a festival of merchants. =Lenn= or =Linn=, Celt. A woollen wrap with a long nap, or simply the skin of some animal, worn in severe weather as a kind of upper garment by the poorer class of Gauls. =Lens= (lit. a lentil). A convex or concave glass, which, by changing the direction of rays of light, magnifies or diminishes objects. =Lent= (A.S. _lencten_, Spring), Chr. The forty days’ fast preparatory to Easter. Pope Gregory the Great speaks of this fast as of thirty-six days’ duration; i. e. six weeks, not counting the Sundays, which, it is suggested, amounts to one-tenth, or a _tithe_ of the year. =Lent Rose= or =Lent Lily=, O. E. The daffodil. =Lentiform.= Shaped like a double convex lens. =Lentiner=, O. E. A hawk taken in Lent. =L’Envoy.= “The conclusion of a ballet, or sonnet, in a short stanzo by itselfe, and serving oftentimes as a dedication of the whole.” (_Cotgrave._) =Leonine Verses.= Rhyming Latin compositions, very popular in the Middle Ages. In the 3rd century a piece of 1200 such verses was written by Commodianus. St. Augustine and the venerable Bede also wrote some. The proper _leonine_ consists of a couplet rhyming at the end; but the rhymes may be otherwise distributed: e. g.— “O miseratrix! O dominatrix! præcipe dictu; Ne devastemur, ne lapidemur, grandinis ictu.” =Leontarium=, Chr. A fountain of lions spouting water; frequently placed in the courtyard or atrium of basilican churches. =Leopard=, Her. A lion in any other attitude than “rampant” was blazoned by the early heralds as a “leopard.” Till the 14th century the lions of the Royal Shield of England were designated leopards. =Leou=, Chinese. (1) A building of many stories, like a pagoda. (2) An upper floor in a Chinese house. =Lepastê=, R. (λεπὰς, a limpet; Lat. _patella_). A large vessel, in form like the _cylix_, but resting on a broad stand; employed from the earliest times for holding pure wine. =Leporarium=, R. (_lepus_, a hare). A hare warren; a walled paddock in which four-footed game were preserved. [Illustration: Fig. 423. The Leschê at Delphi.] =Leschê=, Gr. (λέσχη, i. e. a place for talking). A public place of assembly and conversation, or a small exchange for transacting business, &c. The leschê of Delphi (Fig. 423) was celebrated for the painting which it contained by Polygnotus (470 B.C.). At Athens there were 360 leschai, small buildings or porticoes furnished with seats and exposed to the sun, where the poor could rest in warmth and shelter. =Lesina=, It. An awl. The device of the Lesina Academy, with the motto, “_L’assotigliar la più, meglio anche fora_.” =Lettern=, Arch. The _Lectern_ of a church is often so called, when made of _Latten_ or brass. The word is used instead of _Latten_. =Letters of the Alphabet= are sometimes used as charges in heraldry. The practice of weaving letters into the ornamentation of textile fabrics is very ancient in the East. Pliny says, “Parthi _literas_ vestibus intexunt.” Fanciful designs imitating or copying oriental letters without meaning were worked in church textiles in early Christian times; and the artists of Italy up to the middle of the 16th century represented such devices on the hems of the garments of great personages in their paintings. =Leucite= (λευκὸς, white). _White spar_, or _white garnet_; a white stony substance found among volcanic productions. =Leucomb=, O. E. A dormer window. =Leucopyrite.= A mineral used in the production of artificial _orpiment_. =Levacion=, O. E. The elevation of the host in the mass. =Levant.= The Eastern shores of the Mediterranean. =Levecel=, O. E. A pent-house or projecting roof over a door or an open shed. =Levesele=, O. E. A lattice. The original of the _chequers_ on the door-posts of inns. =Levitonarium.= (See COLOBIUM.) =Lew=, O. E. (modern _lea_). Sheltered from the wind; hence =Lewe Water= (modern _luke_-warm water). =Lewins=, O. E. A kind of bands put about a hawk. =Libbard=, O. E. A leopard. =Libella=, R. (_libra_, a level or balance). (1) A level, or instrument employed by masons, joiners, and carpenters, in the same way as with us, for testing the evenness of the surface of their work. (2) A small Roman silver coin, afterwards substituted by the _As_, which it equalled in value. =Libellus= or =Libellulus=, R. A small book, pamphlet, letter, or notice. =Liber= (literally, the _rind_ of the papyrus; Gr. βιβλίον, from the Egyptian word _byblos_, the papyrus plant). A book.—Parchment (_membrana_) was invented by Eumenes, king of Pergamos; hence its name of _pergamentum_. The paper (_charta_) or parchment was only written upon on one side; the other side was stained yellow. Writings were frequently washed off, and the parchment used again was called _palimpsestus_. The sheets forming a book were joined together and rolled round a staff, and then called a _volume_ (_volumen_). The stick was usually ornamented with balls or bosses, ornamented or painted, called _umbilici_. The ends of the roll, carefully cut, polished with pumice-stone, and coloured black, were called _geminæ frontes_. The reader held the staff in his left hand to unroll the sheet (_evolvere librum_), as he proceeded, with his right. The roll, if valuable, was kept in a parchment case, which was stained with a purple colour, or yellow. The title of the book (_titulus_ or _index_) was written on a small strip of papyrus or parchment with a light red colour (coccum or minium); and this practice was the origin of the art of illumination. =Liber Pontificalis=, _seu de gestis Romanorum pontificum_. A work of the 15th century, of great value to the student of early Christian art work, and in particular of textiles and embroidery. =Libra=, R. (1) A balance with two scales (_lanx_), depending by chains from the ends of the beam (_jugum_); in the centre of the latter was a handle (_ansa_). (2) The As or pound; the unit of weight. (See AS.) =Libretto=, It. The words of an opera, oratorio, &c. =Librile=, R. (_libra_). A term denoting the ends of the beam (_jugum_) in a balance, and thence the balance itself; it is thus synonymous with LIBRA (q.v.). =Liburna=, =Liburnica=, R. A vessel of war so called from the fact that it was built on a model invented by the Illyrian pirates, or Liburni. =Lichanos=, Gr. (_forefinger string_). The note below the MESE of the seven-stringed lyre. (See MESE.) =Lich-gate.= A shed over the gate of a churchyard to rest the corpse under. (See CORPSE-GATE.) (Fig. 197.) =Lich-stone=—near a churchyard gate, for resting coffins on—is generally raised about three feet from the ground, shaped like a coffin, and has stone benches round it for the bearers to rest upon. =Liciæ=, Med. Lat. (Fr. _lices_), from the Italian _lizza_, palings. The lists; an enclosed space surrounding a camp or castle. =Licium=, R. A leash, or thick thread, employed to divide in two a set of threads in a warp, in order to allow the shuttle to pass through them. By analogy, any kind of thread or cord used for fastening. =Lictor=, R. (See FASCES.) =Lieberkuhn.= A reflecting mirror on a microscope, named after the inventor. =Lierne Rib= (in a vault), Arch. (From _lier_, to bind.) “Any rib that does not arise from the impost, and is not a ridge rib, but crosses from one boss or intersection of the principal ribs to another. Vaults in which such _liernes_ are employed are termed LIERNE VAULTS.” (_Parker’s Glossary._) =Light Red.= A pigment of a russet orange tint, produced from burnt ochre. =Lights.= The openings between the mullions of a window. (See DAYS.) [Illustration: Fig. 424. Ligula.] =Ligula=, R. (1) A small tongue-shaped sword. (Fig. 424.) The term is derived from _lingua_, a tongue. (2) A liquid measure, a _large_ spoonful, distinguished from _cochlear_, which is a _small_ spoonful. (3) The leather tongue of a shoe. =Lilies=, in Christian art, are the symbols of purity; the special attribute of the Virgin Mary. They are frequent in the catacombs on the tombs of Christian virgins. =Lily= or =Iris Green= (It. _verde giglio_). A pigment anciently used in Italy. It was prepared by dipping linen rags into the juice of plants, and then preserving them dry. =Lima=, R. (1) A file or rasp, applied to the same purposes as at the present day. (See SCOBINA.) (2) In Med. Lat., a tool or weapon worn by archers in the French service, either as a kind of sword or for sharpening arrows with. (_Meyrick._) =Limbeck=, O. F. An alembeck. =Limbo=, O. E. Hell. “Beholde now what owre Lord Jhesu dide one the Saturday, as sune as he was dede. He went downe to helle to owre holy fadyrs that ware in _lymbo_ to tyme of his Resureccione.” (_MS. Lincoln._ A. i. 17, f. 186.) =Limbus=, R. An ornamental band or border resembling scroll-work or architectural foliage, employed as an ornament on dress, vases (especially on Etruscan vases), &c.; and thence (1) a ribbon worn as an ornament in the hair; (2) the zodiacal circle described on a globe (see Fig. 48); (3) a stout cord forming the main rope in a fishing-net; (4) in Med. Latin, a military tunic—the German _Wapenrock_; or a wrapper worn by soldiers round the head, _temp._ John, usually termed _cargan_. (_Meyrick._) =Lime.= Slaked lime, alone or mixed with pulverized white marble, was a white pigment used in fresco-painting. =Lime-hound=, O. E. A sporting-dog in a _lime_ or leash. =Limen=, R. The threshold or step laid down before the entrance of a door; the same term is also applied to the lintel. _Limen superius_ is the lintel, and _limen inferius_ the threshold properly so called. “Limen superum inferumque, salve!” (_Plautus._) =Limer=, O. E. A bloodhound. “A dogge engendred betweene an hounde and a mastyve, called a _lymmer_, or a mungrell.” =Limitour=, O. E. A begging friar. =Limning=, O. E. Painting, especially portrait painting. =Limoges Enamel.= A kind of incrusted enamel on the system called _champlevé_; perfected at Limoges, in France, in the 15th century, and hence called _Opus de Limogia_. (See ENAMEL.) The enamels and METAL WORK of LIMOGES, in furniture, decoration of armour, and church utensils, are very important. The monument of Aylmer de Valence in Westminster Abbey is Limoges workmanship. =Limus=, R. A kind of apron bordered with a purple hem, worn by the _popa_ or attendant who killed the animal offered at a sacrifice. =Lincei.= An academy for natural history, founded in Rome in 1603. They adopted the lynx for their device “because the academicians should have the eyes of a lynx to penetrate the secrets of nature.” (_Mrs. Bury Palliser._) =Line of Beauty.= A curve like an elongated S. (See _Hogarth’s Analysis of Beauty_.) =Line of Life.= One of the lines in the hand; a term in palmistry. =Linea=, R. (_linum_, a flax-thread). A line or any kind of string; _linea alba_, a rope whitened with chalk and stretched across the arena in a circus for the purpose of giving a fair start to runners, chariots, or riders. =Lined=, Her. (1) Having a cord attached. (2) Having a lining. =Lineleon.= Linseed oil. “_Lineleon ex semine lini fiet._” =Linen.= Painting on linen was largely practised in England during the 14th century; and a drawing sent by Albert Durer to Raphael is described by Vasari as having been painted “in water-colours on a fine linen cloth, which showed the transparent lights on both sides, without white; water-colours only being added, while the cloth was left for the lights; which thing appeared wonderful to Raphael.” (_Vasari_, _Vita di Raffaello_.) =Linen-scroll.= A decorative ornament, common in German wood-carving of the 15th and 16th centuries. It resembles a napkin stood on end, and partly opened into scroll-shaped cylinders. =Linset=, O. E. The stool on which women sat while spinning. =Linsey-woolsey= (O. E. Lylse-wulse). Coarse woollen stuff first made at Linsey in Suffolk. =Linstock=, O. E. (15th century). A pike, with branches on each side to hold a lighted match for firing artillery. =Lintel.= The stone or beam placed across a door or window overhead (_limen superius_). =Linteolum=, R. and Chr. (_linteum_). Any small piece of linen, such as a napkin or handkerchief. =Linter=, R. A flat boat, frequently formed of the trunk of a tree, used in shallow waters for the transport of produce; it was also used in the construction of bridges of boats. =Linum=, R. (λίνον). Flax, and thence anything made of that fibre. =Lion=, O. E. (from _lie on_). The main beam of a ceiling. [Illustration: Fig. 425. Heraldic Lions.] =Lion.= In Heraldry, the lion _couchant_ represents sovereignty; _rampant_, magnanimity; _passant_, resolution; _guardant_, prudence; _saliant_, valour; _seiant_, counsel; and _regardant_, circumspection. (See LEOPARD, MARZOCCO.) =Lioncel=, Her. A lion drawn to a small scale, generally rampant. =Lions=, in Christian art, typify the resurrection of the Redeemer; because, according to an oriental fable, the lion’s cub was born dead, and in three days its sire licked it into life. The lion also typifies solitude, and is therefore the attribute of hermits; and as the type of fortitude and resolution it was placed at the feet of martyrs. =Lip Moulding=, Arch. So called from its resemblance to an overhanging lip. It is common in the Perpendicular period. =Liquid Madder Lake= or =Rubiate=. A brilliant rose-coloured pigment, used in oil or water-colour painting. [Illustration: Fig. 426. Liripipes. Italian, 16th century.] =Liripipes=, O. E. The long tails of hoods, which hung down the back. Worn also by the Italians. (Fig. 426.) =List=, Arch. A straight upright ring encircling the lower part of a column, just above the torus, and next to the shaft. [Illustration: Fig. 427. Listels.] =List=, =Listel=, Arch. A small square moulding, also called a _fillet_. Fig. 427 represents a base, the ornamentation of which is made up of numerous _listels_ or fillets. =Litany Stool.= In a church, a small low desk at which the Litany was sung. “The priest goeth from out of his seat into the body of the church, and (at a low desk before the chancel door, called the _faldstool_) kneels and says or sings the Litany.” (_Eliz._ xviii. 1559.) =Literatus= or =Litteratus=, R. (_litera_, a letter). In general, anything that is marked with letters; and thence (1) a slave who has been branded on the forehead with a hot iron, also called _inscriptus_, _notatus_, _stigmatus_. (2) A grammarian, learned man, or commentator. =Litharge.= An ingredient of _drying oil_ (q.v.). =Lithochrome.= Another name for CHROMOLITHOGRAPHY, or colour-printing. =Lithography=, or drawing on stone, was invented by Aloys Senefelder of Munich in 1796. Drawings are made on a polished surface of calcareous stone, with ink and chalk of a soapy nature. The _lithographic ink_ is made of tallow-soap, pure white wax, lamp-black, and a small quantity of tallow, all boiled together, and, when cool, dissolved in distilled water; the ingredients for the _lithographic chalk_ are the same, with a small quantity of potash added during the boiling. After the drawing on the stone is perfectly dry, a very weak solution of sulphuric acid is poured over it, which takes up the alkali from the ink or chalk, and leaves an insoluble substance behind it, while it lowers in a slight degree the surface of the stone not drawn upon, and prepares it for the free absorption of water. Weak gum-water is next applied to close the pores of the stone, and to keep it moist. The stone is then washed with water, and the printing-ink applied in the ordinary way. It then passes through the press, the washing with water and daubing with ink being repeated after every impression. As many as 70,000 copies have in this way been taken from one stone, the last being nearly as good as the first. Copper-plate and steel engravings can be transferred to stone. (See the article “Lithography” in the _Encyclopædia Britannica_, 8th ed.) =Lithostrotum=, R. (λιθό-στρωτον). The pavement of a Roman road, and thence any ornamental pavement, mosaic, incrusted marble, coloured inlaid-work, &c. =Litmus= or =Lacmus=. The red, violet, and blue colours known as _archil_, _cudbear_, and _litmus_, are derived from certain lichens; _litmus_ from the _roccella tinctoria_. =Liturgy= (λειτουργός). The printed formulary according to which the public services in a church are performed. =Lituus=, R. (an Etruscan word, signifying _crooked_). (1) A brass trumpet formed of a long, straight tube, but curved and opening out wide at the end like a tobacco-pipe. The _tuba_ was straight, the _cornu_ spiral. (2) An augur’s staff curved into the form of a crook, with which they divided the expanse of the sky into regions in their divinations. =Livery= (Fr. _livrée_). Literally, the _distribution_; that is to say, of clothes to be worn by the servants of palaces, &c. (See BADGES.) =Livery Colours.= In the Middle Ages all great houses had their own livery colours. Thus those of the House of York were blue and crimson, those of the House of Lancaster white and blue, of the House of Tudor white and green, of the House of Stuart scarlet and gold. =Loaves=, in Christian art, are the emblems of charity to the poor; the attribute of St. Philip the Apostle and other saints. =Lobe= (of an arch), Fr.; Anglicé _foil_; e. g. a trefoil arch is _arc trilobé_. =Local Colour= is the real fundamental colour of an object, considered apart from all accidental variations of light and reflexion. =Locellus=, R. A box or casket; this term is a diminutive of LOCULUS. =Lochaber Axe.= A short pole with a sharp axe at one end, an ancient weapon of the Highlanders of Scotland. =Locker=, Chr. Arch. A cupboard for sacred vessels generally left in the thickness of the wall on the north side of the altar of a church. (See SECRETARIUM.) =Locking up.= Any process by which a colour, liable to be affected by damp, can be rendered durable. =Loculamentum=, R. (_loculus_, a little place). Any box, chest, or case, the interior of which is divided into compartments. =Loculus=, R. (dimin. of _locus_, a place). (1) A coffin, generally of stone. (See SARCOPHAGUS.) (2) A compartment in the manger of a stable. (3) A small chest fitted with compartments. =Locutorium=, Chr. Of a convent, &c., the _parlour_. [Illustration: Figs. 428, 429. Badge of Richard II. in Westminster Hall.] =Lodged=, Her. Said of animals of the chase _in repose_. The illustration shows the favourite badge of Richard II.: a white hart chained, and in an attitude of rest. “This device is repeated in _Westminster Hall_ 83 times; and all are equally consistent with heraldic truth and accuracy, without any of them being an exact counterpart of any other.” (_Boutell_, _English Heraldry_.) (Fig. 428.) =Loegria=, O. E. England. (_Geoffry of Monmouth._) =Logan Stones= (properly _logging stones_, from O. E. _log_, to oscillate). ROCKING STONES (q.v.). =Logeum=, Gr. (λογεῖον). A Greek term synonymous with PULPITUM (q.v.). =Loggia=, It. The gallery, or corridor, of a palace. =Lombard Architecture.= “A style invented by the Lombards (Longobardi) in the 7th century in imitation of the Roman. It continued in use till the 10th century, and gave place to the Norman style. It is rude, heavy, and massive, with small narrow windows.” (_Parker._) The above is only one application of the term, which is applied by different writers to a great number of different styles. The _Lombardesque_ style (It. _lo stile Lombardesco_) applies to the architectural works of the family of Pietro _Lombardo_ (15th century). The _Lombard Gothic_ is still another style (of the 12th century). =Loops=, =Loups=, Arch. Another name for CRENELS (q.v.), or embrasures. =Lord.= The word is Saxon; from _hlaf_ or _klaf_, a loaf of bread; and _ford_, to give; hence it means originally _bread-giver_. [Illustration: Fig. 430. Gallic cuirass in the Louvre.] [Illustration: Fig. 431. Fragment of a Gallic cuirass.] =Lorica=, Gr. and R. (_lorum_, a thong). A cuirass; it was made either for officers, of two γύαλα, the breast and back-pieces; or, for the soldiers, of a number of small metal scales or bands, fastened together with rivets or rings, and flexible. Among the Asiatics the cuirass was frequently made of cotton; and among the Sarmatians, and other nations, of horn. =Lorimers=, O. E. Bit-makers. =Lorraine Cross.= A cross with two projecting arms on each side. =Lorraine Glass= for painted windows; obtained from the Vosges as early as the 13th century, and then called Burgundy glass. “When any one means to paint, let him choose the Lorraine glass, which inclines to the white yellow because that bears the fire best, and receives the colour better than any other.” (_Félibien_, 1619.) =Lota.= A sacred utensil in India, used in ceremonial and other ablutions. It is a globular bowl with a low narrow neck, sometimes chased or engraved and incrusted. [Illustration: Fig. 432. Lotus-flowers.] =Lotus= (λωτός). The lotus is a frequently recurring _cyma_ in Hindoo architecture. In Egyptian archæology, the lotus, of which two partially opened buds may be seen in Fig. 432, was the symbol of the rising of the sun, of fertilization, life, and resurrection. The lotus appears in the ornamentation of the largest as well as of the smallest monuments of Egyptian art; and is the motive of many of the columns and capitals of the temples and palaces of a certain period, as well as of the decoration of vases and other small objects. Three lotus-stems issuing from a basin symbolized Upper Egypt. =Louis d’Or=, Fr. A gold coin, value about 20_s._, first struck in 1640. =Louis Treize Style= (Arch.), a French version of Italian art, prevailed from 1625 to 1650, and produced _Jean le Pautre_, the ornamentist, and the following styles:— [Illustration: Fig. 433. Heraldic Decoration at Versailles—Louis Quatorze.] =Louis Quatorze=, Arch. A style of ornament developed towards the close of the 17th century (1643–1715). It is described as “essentially an _ornamental_ style, its chief aim being effect by a brilliant play of light and shade; colour, or mere beauty of form in detail, having no part in it. This style arose in Italy, and the Chiesa del Gesù at Rome is mentioned as its type or model. The great medium of the Louis Quatorze was gilt stucco-work, which, for a while, seems to have almost wholly superseded decorative painting; and this absence of colour in the principal decorations of the period seems to have led to its more striking characteristic,—infinite play of light and shade.” (_Wornum_, _Analysis of Ornament_.) In this style symmetry was first systematically avoided. In the _Furniture_ of the period the characteristic details are the scroll and shell. The classical ornaments and all the elements of the _Cinque-cento_, from which the Louis Quatorze proceeded, are admitted under peculiar treatment, as accessories; the panels are formed by chains of scrolls, or a combination of the scroll and shell. Versailles is the great repertory of the Louis Quatorze (Fig. 433), and the designs of Watteau its finest exemplification. =Louis Quinze=, Arch. This style (1715–74) is the exaggeration of the Louis Quatorze, rejecting all symmetry, and introducing the elongation of the foliations of the scroll, mixed up with a species of crimped conventional _coquillage_ or shell-work. The style found its culmination in the bizarre absurdities of the Rococo. =Louvre=, Arch. The open turret in the roofs of ancient halls, through which the smoke escaped before the introduction of modern chimneys. =Louvre-boarding= or =Luffer-boarding=, Arch. A series of overlapping boards sloping from the top downwards, and from within outwards, and fixed in a framework of timber. They are placed in the apertures of towers and belfries for the sake of ventilating the timbers, and are sloped to prevent rain and snow from penetrating within, and to direct the sound of the bells downwards. Sometimes the wooden boardings are covered with lead, slate, or zinc, in order to preserve them. =Louvre-window=, =Belfry-arch=, Arch. The large lights fitted with louvre-boarding in belfries. =Love-apple.= The tomato is so called. =Love-feast.= An annual feast celebrated in some parishes in England on the Thursday before Easter. (See _Edwards’s Old English Customs_.) =Love-in-Idleness=, O. E. The heart’s-ease. =Love-knot.= A complicated figure by which an interchange of affection is supposed to be figured. =Love-lies-bleeding=, O. E. A flower; a kind of amaranth. =Love-lock.= A long ringlet of hair worn on the left side of the head, and allowed to stream down the shoulder sometimes as far as the elbow. The love-lock is mentioned in Queen Elizabeth’s reign. “Will you be Frenchified, with a love-lock down to your shoulders, wherein you may weave your mistress’s favour?” (_Quip for an Upstart Courtier._) “Why should thy sweete love-locke hang dangling downe, Kissing thy girdle-stud with falling pride? Although thy skin be white, thy haire is browne; Oh, let not then thy haire thy beautie hide.” (_The Affectionate Shepheard._) =Lovel=, O. E. A dog. “The Ratte, the Catte, and Lovell our dogge. Rule all England under the hogge.” (1484.) =Low Side-window=, Arch. A peculiar small window found in many churches near the west end of the chancel, and very near the ground. It was never glazed, but closed with wooden or iron gratings. Its object has never been ascertained. Most of the examples are of the 13th or 14th century. (See _Archæological Journal_, vol. iv. p. 314.) =Low Sunday=, Chr. The Sunday next after Easter. =Lozenge.= In Heraldry, the diamond-shaped figure used for a shield to display the arms of spinsters and widows. The _lozenge_ is always placed upright on the shield, and its true proportions are as 5 to 4. (See MASCLE.) =Lozenge Moulding= or =Lozenge Fret=. An ornament used in Norman architecture, presenting the appearance of diagonal ribs, enclosing diamond-shaped panels. =Lozenges.= A term in wood-engraving for a class of fine gravers used for outlines and very fine shading. [Illustration: Fig. 434. Shield of Hubert de Burgh, Earl of Kent.] =Lozengy=, Her. A field divided lozenge-wise. (Fig. 434.) =Lucariæ=, R. Festivals instituted at Rome to commemorate the refuge which the Roman army had once found in a wood (_lucus_) between the Via Salaria and the left bank of the Tiber. At the time of the invasion of the Gauls in the year 365 B.C., the Roman army would have been entirely cut to pieces but for this refuge. =Lucarne=, Fr. Arch. A dormer or garret window. =Luce=, Her. The fish now called a pike. (Fig. 380.) [Illustration: Fig. 435. Bronze Lucerna. Roman.] =Lucerna=, R. (_luceo_, to shine). An oil lamp of terra-cotta or bronze. (Fig. 435.) On one side they had a handle, and on the other one or more places for wicks (_myxæ_). The oil was poured in through an opening in the centre. _Lucerna bilychnis_, _trilychnis_, _polylychnis_, and _lucerna bimyxos_, _trimyxos_, or _polymyxos_, were respectively lamps with two, three, or several nozzles, or with two, three, or several wicks; _lucerna pensilis_ was a hanging lamp. (See Fig. 435.) =Lucidæ=, Med. Lat. Lustrous varnishes. =Lucifer= (_lux_, light; _fero_, to bring). The morning or evening star. =Lucta=, =Luctamen=, =Luctatio= (Gr. πάλη, πάλαισμα, παλαισμοσύνη, or καταβλητική). Wrestling. In the Homeric age the wrestlers contended naked, excepting the _perizoma_ round the loins; about B.C. 720 (the 15th Olympiad) this was discarded. The Cretans and Lacedæmonians, and afterwards the Greeks, anointed the body with oil, and then strewed it over with sand or dust. The Lucta or Palé differed from the _Pancratium_. In the latter, boxing and wrestling were combined, and the contest continued until one party was killed, or unable to continue. In wrestling, on the other hand, the victory was awarded to the man who first threw the other three times. The most famous wrestler of antiquity was Milo of Crotona, who flourished B.C. 509, and was seven times crowned at the Pythian games, and six times at Olympia. =Lucullite.= A variety of black marble, first brought to Rome from an island at Assouan on the Nile by Lucullus. =Ludi.= Games at festivals, or a general name for such festivals as consisted entirely of games and contests. _Ludi circenses_ were games held in the circus, gladiatorial and other. (See CIRCUS.) _Ludi scenici_ were theatrical representations. _Ludi stati_, like the _Feriæ statæ_, were those held regularly on certain days marked in the calendar. _Ludi imperativi_, on the other hand, were held by special appointment, and _votivi_ in fulfilment of vows. The games were superintended by the ÆDILES. The principal games will be found described under the headings Apollinares, Augustales, Capitolini, Circenses, Compitalia, Floralia, Funebres, Liberales or Dionysia, Megalesia, Plebeii, Sæculares, &c. =Ludus=, R. A game or pastime; _ludus litterarius_, or _ludus_ simply, was a school for the instruction of youth; _ludus duodecim scriptorum_, a kind of backgammon played by the ancients; _ludus fidicium_, a music school; _ludus gladiatorius_, a school for gladiators directed by a _lanista_. =Lumachel= (It. _lumachella_, a little snail). A marble full of fossil shells, and of beautiful iridescent colours, sometimes a deep red or orange; called also _fire marble_. =Luna=, R. (lit. moon). An ivory or silver shoe-buckle worn by Roman senators. (Compare LUNULA.) =Lunated.= Crescent-shaped. =Lunette.= (1) In Fortification, a work with two _faces_ and two flanks, i. e. a REDAN to which flanks or lateral wings have been added; in form, therefore, it resembles a BASTION. (2) In Architecture, a crescent or semicircular window, or space above a square window beneath a rounded roof. Hence the _paintings_ on such a space are called _lunettes_; e. g. those of Raffaelle in the Vatican. =Lunula=, R. (dimin. of _luna_). (1) An ornament in the form of a crescent worn by women round the neck. (2) The white moon-shaped marks at the roots of the finger-nails. (Cf. MENIS.) =Lupatum=, R. A jagged bit with teeth like a saw (_lupus_); whence its name. =Lupercalia=, R. Festivals held at Rome on the fifteenth of the calends of March (15th of February), in the _Lupercal_, a sacred enclosure or cave on the Palatine, regarded as the den of the she-wolf who nursed Romulus and Remus. The _luperci_ assembled together and sacrificed goats and young dogs, with the skins of which they ran through the streets half naked. [Lupercus, or Februus, was the god of fertility. The festival was originally a shepherd festival; the ceremony was symbolical of a purification of shepherds, and commemorated the time when Rome was a nation of shepherds.] =Lupus=, R. (lit. wolf). (1) A hand-saw. (2) _Lupus ferreus_, a huge iron hook, lowered from the walls of a besieged place to catch the point of the battering-ram. (See HARPAGA.) =Lura=, R. Literally, the mouth of a large leathern sack for wine and oil, and thence the sack itself. [Illustration: Fig. 435 a. Hawk’s Lure.] =Lure.= A falconer’s decoy, made of feathers on a cord, to attract a hawk back to the wrist. The illustration is a heraldic _lure_. (See Fig.