Chapter D (4)

=Gauntlet.= The knight’s gauntlet was made of leather covered with plates of steel. It was not originally divided into fingers. (Fig. 350.)

=Gausapa=, =Gausape=, =Gausapum=, R. (γαυσάπης). (1) A garment introduced from Egypt into Rome, in the time of Augustus; it was made of a woollen cloth with a long nap on one side, and was worn on leaving the bath; it was white or dyed purple. Gausapa was used not only for articles of dress, but for table linen, napkins, dusters, and mattings. (2) A wig made of human hair, worn at Rome during the Empire.

=Gauze.= A light, transparent silk texture, supposed to have been invented at Gaza in Palestine; whence the name.

=Gavotte= (It. _gavotta_). A lively dance-tune in two-fourth time, consisting of two sections, each containing eight measures.

=Gehenna= (Heb. _Ge-hin-nom_, i. e. the valley of Hinnom). In this place, on the north of Jerusalem below Mount Zion, is a place called Tophet, where children were sacrificed to Moloch. King Josiah made it the common receptacle for rubbish and carcases, and a fire was kept constantly burning there; hence the Jews used this term to signify “hell.” (Compare HADES.)

=Gemellar=, R. (_gemellus_, twin). A case for holding oil; it was called _gemellar_ from the fact of its being divided into two compartments.

=Gemelled=, Arch. Double; thus a _gemelled bay_ is one divided into two parts; _gemelled arches_, those which are joined two and two.

=Gemelles=, Her. In pairs. (See BARS-GEMELLES.)

=Gemmæ=, Lat. (1) Precious stones, esp. cut or engraved. (2) Drinking-vessels or objects made of precious stones. (3) Pearls. (4) The eyes of a peacock’s tail. The original meaning of the word is a _bud_, _eye_, or _gem_ on a plant; anything _swelling_ and bright.

=Gemoniæ=, or =Gemoniæ Scales=, R. (i. e. steps of sighs). Steps leading to the prison in the forum, on the stairs of which the corpses of criminals were exposed for several days.

=Gems.= Precious stones, especially when carved. (See CAMEOS.)

=Genet=, Her. A spotted animal, something like a marten.

=Genethliaci=, Gr. and R. (γενέθλη, birth). Astrologers who cast “_nativities_.”

=Genius=, R. (_geno_, to beget). The Romans believed the existence of a good genius, or guardian angel, born with every mortal, and which died at the same time with him. _Genius loci_ was the name given to the guardian spirit of a place. [See JUNONES, LARES, PENATES, &c. The superstition has many forms in Christian as well as in pagan art.]

=Genoa Lace.= Mention is made of Genoa Lace as early as the 15th century. Genoa was as celebrated for its pillow lace as Venice for its needle-made. The characteristic of this lace was its design, a kind of barleycorn-shaped pattern, radiating into rosettes from a centre. It was particularly adapted for the large turnover collar of Louis XIII., and was produced by plaiting, and made entirely on the pillow.

=Genouillières=, Fr. (1) Steel coverings for the knees. From the 13th century. They were often richly ornamented. (2) In _Fortification_, the sill of the embrasure.

=Genre Pictures.= Those representing scenes of every-day life and manners.

=Geodes.= In Mineralogy, hollow lumps of chalcedony found deposited in the cavities of flints, formed by the chemical action of water.

=George.= A gold noble of the time of Henry VIII. (Fig. 352.)

=George, Saint=, Her. The patron saint of England. His red cross on a silver field first appears in English heraldry in the 14th century. (See Fig. 349.)

=George, The=, Her. A figure of St. George on horseback, worn as a pendant to the collar of the Order of the Garter. (See GARTER.)

=Georgic= (γεωργικὸς, rustic; from γῆ, earth, and ἔργον, work). Poems on the subject of husbandry.

=German Silver.= An alloy of nickel, zinc, and copper. The proportions recommended are nickel 25, zinc 25, copper 50.

=Gerrhæ.= Persian shields made of wicker-work.

=Ghebres=, Pers. Fire-worshippers.

=Ghibellines.= An Italian faction, 13th century, who supported the German Emperors against the _Guelphs_, who stood by the Pope. The war-cry of the Guelphs was taken from the name of Henry the Lion, Duke of Saxony, of the house of _Wolf_; that of the Ghibellines from _Weiblingen_, a town of Würtemberg, the seat of the Hohenstauffen family, to which Conrad, Duke of Franconia, belonged. These two dukes were rivals for the imperial throne of Germany.

=Ghoul=, =Ghole=, Pers. A demon who fed on dead bodies of men.

=Giallo=, =Giallolino=, =Gialdolino=, It. Pale yellow. (See MASSICOT.)

=Giaour=, Turkish. An unbeliever in Mohammed.

=Gigantomachia=, Gr. A favourite subject of Greek art, representing the War of the Giants, sons of Cœlus and Terra, against Jupiter. They “heaped Ossa on Pelion” to scale heaven, and were defeated by Hercules. They are represented as of vast stature and strength, having their feet covered with scales. A beautiful cameo in the Naples Museum represents Jove in his chariot subduing the giants. In 1875 the German expedition found among the ruins of a temple at Pergamus a series of sculptures of almost colossal proportions, representing, as Pliny describes them, the Wars of the Giants. These sculptures are now in the Berlin Museum.

=Gillo=, R. A wine-cooler, of earthenware.

=Gimmel Ring=, Her. Two, sometimes three annulets interlaced. (Fig. 353.)

=Gingham= (Javanese _ginggan_). Cotton cloth, woven from dyed yarns; distinguished from cloth printed or dyed _after_ weaving.

=Ginglymus=, R. (γίγγλυμος). A hinge moving in a socket.

=Gingrinus=, R. (γίγγρας). A flute used at funerals.

=Gipcières.= Richly ornamented leather purses of the 14th and 15th centuries. They were often engraved with religious mottoes. (Fig. 354.)

=Gipon.= Probably the same as _gambeson_.

=Girandole.= A large kind of branched candlestick.

=Girdled=, =Girt=, Her. Encircled or bound round.

=Girdles.= These were the most beautiful and costly articles of dress during the Middle Ages. They were frequently made entirely of gold or silver, decorated with cameos, precious stones, &c. Besides the knightly sword; the purse, dagger, rosary, or penner and ink-horn and other objects were suspended from the girdle. From this word the waist was called the _girdlestead_, or place (_sted_) of the girdle. The girdles of ladies were equally splendid, and frequently depended nearly to the ground, as in Fig. 355. The girdle is an attribute of St. Thomas, from a legend that the Virgin, pitying his weakness of faith, threw down to him her girdle, after her assumption into heaven.

=Girgillus=, R. A roller turned by a windlass, for drawing up the bucket of a well. (See JACK.)

=Girouette.= (See EPI.)

=Girt=, Her. (See GIRDLED.)

=Gisarme.= A scythe-shaped weapon with a pike, fixed on a long staff.

=Gittern=, O. E. A small guitar, strung with catgut.

=Givre.= (See WYVERN.)

=Glabrous= (Lat. _glaber_). Smooth, bald.

=Glade= (Norman _glette_, a clear spot among clouds). An opening or passage in a wood through which the light may shine.

=Gladiators= were first exhibited at Rome, B.C. 264, at a funeral. The practice had its origin in that very ancient one of slaughtering slaves and captives on such occasions. Subsequently it became more general. The different classes of gladiators, distinguished by their arms and other circumstances, were: _Andabatæ_, who wore helmets without any opening for the eyes, and therefore fought blindfold; _Essedarii_, who fought from chariots (ESSEDÆ); _Hoplomachai_, who wore heavy defensive armour; _Laqueatores_, who carried a sort of lasso or noose; _Meridiani_, who fought in the middle of the day, and were very slightly armed; _Mirmillones_, so called from their having the image of a fish (mormyr) on their helmets; _Retiarii_, armed with a trident and a net. Others, as _Samnites_, _Thraces_, &c., were named from the nation whose fashion of armour they adopted. The fights of gladiators were favourite subjects of Roman art, and it is assumed that in cases where no actual combats took place at a funeral, they were represented on the walls of tombs in sculpture or paint. The most celebrated statues of the kind are the so called “Dying Gladiator” in the museum of the capitol at Rome, and the Gladiator of the Borghese collection.

=Gladiolus.= Diminutive of GLADIUS, and synonym of LIGULA. (See both words.)

=Gladius=, R. A general term, including all the different kinds of swords or glaives, but denoting more particularly the two-edged swords used by the Greeks, Romans, and Gauls. Fig. 357 represents two Gaulish swords, the form of which may easily be guessed, even though they are in the scabbard; Fig. 356 is a Roman _gladius_.

=Glaive.= A blade on a pole having its edge on the outside curve, used by foot-soldiers in the 15th century.

=Glans=, Gr. and R. (lit. an acorn). A large leaden slug, of long oval form, which was hurled by a sling in place of stones.

=Glass.= The discovery is lost in remote antiquity. Pliny gives a legend which ascribes it to chance. Glass bottles in Egypt are represented upon monuments of the 4th dynasty (at least 2000 years B.C.). A vase of greenish glass found at Nineveh dates from B.C. 700. Glass is found in the windows at Pompeii; and the Romans stained it, blew it, worked it on lathes, and engraved it. Pliny mentions, as made by the Romans in his time, glass coloured opaque, red, white, black (like _obsidian_), or imitating jacinths, sapphires, and other gems; also _murrhine glass_. This last was either an imitation of fluor-spar, or a kind of agate, or fluor spar. The Romans also made _mosaic_ or _millefiori_, in which the threads of colour are melted into a rod, so that at every section the whole pattern appears; and _cameo glasses_, in which a paste of one colour is laid over another, and the whole then carved into the required design; _gold leaf_ was also worked into the substance or fixed on the surface. A gate at Constantinople took its name from the glass works near it, but little is known of the Byzantine art, nor of earlier European art than the 13th century. In mediæval times stained glass windows, in leaden frames, were constructed with great success in England, France, and Flanders. In the 13th century they appear in Italy. The Venetian art took its impulse from the capture of Constantinople in 1204. Its peculiar beauty is derived from the curved forms and tenuity of substance obtained in blowing. (Fig. 358.) There are six kinds of Venetian glass. (1) Vessels of colourless or _transparent glass_, or of single colours, generally blue or purple. (2) _Gilt_ or _enamelled glass_. (3) _Crackled glass_, having a surface rough and divided irregularly into ridges. (4) Variegated or _marbled opaque glass_, called _schmeltz_; the most common variety is a mixture of green and purple, sometimes resembling jasper, sometimes chalcedony; other varieties are imitations of lapis lazuli and tortoise-shell; and _avanturine_, which is obtained by mingling metallic filings or fragments of gold leaf with melted glass. (5) _Millefiori_, or _mosaic glass_, in imitation of the old Roman process. (6) _Reticulated_, _filigree_, or _lace glass_. The varieties contain fine threads of glass, generally coloured, but sometimes milk-white, included in their substance. The lightness and strength of the Venetian glass are due to its not containing lead like our modern flint glass. Venetian _mirrors_ were for a long period widely celebrated. The oldest example of the German _drinking-cups_, ornamented with paintings in enamel, is of the date of 1553. The designs are commonly armorial bearings. From the beginning of the 17th century the Bohemian manufactories supplied _vases_ enriched with ornamental subjects, particularly with portraits engraved upon the glass. The art of _wheel engraving upon glass_ flourished in France under Louis XVI. In modern times this kind of ornamentation is produced by the agency of hydrofluoric acid. “Coarse glass-making in England was, in Sussex, of great antiquity.” (_Fuller._) “The first making of Venice glasses in England began in London, about the beginning of the reign of Queen Elizabeth, by one Jacob Vessaline, an Italian.” (_Stow._)

=Glass-glazed Wares.= (See GLAZED WARES.)

=Glaucous= (γλαυκός). Of a sea-green colour, or a greyish blue.

=Glazed Wares.= Almost immediately after the invention of Ceramic manufacture, the application of _glaze_ or _coloured enamel_ must have improved it. What we term _glaçure_ is a light varnish which enlivens and harmonizes the porous surface of terra-cotta. In its simple state it is a mixture of silex and lead, and in this state it is transparent, as we find it on _antique vases_; when vitrifiable, and mixed with tin, as in the case of _majolicas_, it is called enamel; and when of vitrifiable and earthen substance, such as can only be melted at the temperature required for the baking of the paste itself, it is known as GLAZE, or _couverte_, and can be identified in the Persian faiences and Flemish stone-ware. (Figs. 359, 360.) (See _Burty_, _Chefs-d’œuvre of the Industrial Arts_.)

=Glazing.= In oil painting, the application of thin layer of colour to finally modify the tone. In pottery, a vitreous covering over the surface. (See GLAZED WARES.)

=Globe=, held in the hand, is the emblem of power.

=Globus=, R. A military manœuvre employed by a body of Roman soldiers when surrounded by superior forces; it consisted in forming a circle facing in every direction.

=Glory=, =Nimbus= or =Aureole=, the Christian attribute of sanctity, is of pagan origin, common to images of the gods, and Roman, even Christian, emperors. Satan in miniatures of the 9th to 13th century wears a glory. The earliest known Christian example is a gem of St. Martin of the early part of the 6th century. The glory round the head is properly the nimbus or aureole. The oblong glory surrounding the whole person, called in Latin “vesica piscis” (Fig. 361), and in Italian the “mandorla” (almond) from its form, is confined to figures of Christ and the Virgin, or saints who are in the act of ascending into heaven. When used to distinguish one of the three divine Persons of the Trinity, the glory is often cruciform or triangular: the square nimbus designates a person living at the time the work was executed. In other instances it is circular. Coloured glories are variously symbolical. (_Mrs. Jameson_, “_The Poetry of Sacred and Legendary Art_.”)

=Gloves.= In the 14th century already _gloves_ were worn, jewelled on the back, as a badge of rank. “They were worn in the hat,” says Steevens, “as the favour of a mistress, or the memorial of a friend, and as a mark to be challenged by an enemy.” A glove of the 17th century is described “of a light buff leather, beautifully ornamented with spangles and needlework in gold and silver threads, with a gold lace border, and silk opening at the wrist.” Gloves were called “cheirothecæ,” hand-coverers, by the Greeks and Romans; they were made without separate fingers, the thumb only being free. A legend current at Grenoble affirms that St. Anne, the mother of the Virgin Mary, was a knitter of gloves.

=Gluten.= In wax painting, the compound with which the pigments are mixed.

=Glyphs=, Arch. The flutings of an ornament or grooving forming the segment of a circle. (See DIGLYPH, TRIGLYPH.)

=Glyptics.= The art of engraving on precious stones.

=Glyptotheca=, Gr. and R. (1) A gallery for sculpture. (2) A collection of engraved stones.

=Gnomon=, Gr. and R. The iron pin or index, which, by the projection of its shadow, marks the hour upon a sun-dial.

=Goal.= (See META.)

=Goat.= The emblem of lasciviousness.

=Gobelins.= Celebrated Royal French manufactory of tapestry, named from the successors of Jean Gobelin, who brought the art to Paris in the 15th century from Rheims. [See _Burty_, _Chefs-d’œuvre of Industrial Art_.]

=Godenda=, O. E. A pole-axe, having a spike at its end; 13th century.

=Goderonné=, =Gouderonné= (Needlework). A fluted pattern of embroidery in vogue in the 16th century.

=Gold.= It is probable that the earliest recorded mark upon units of value was the image of a sheep or an ox; hence money in Latin is called _pecunia_, from _pecus_, cattle, the original form of barbaric wealth, for which gold was the substitute. The wealth of Abraham in silver and gold, as well as in cattle, is mentioned in Genesis. No coins of gold or silver have been found in EGYPT or NINEVEH, although beautiful specimens of the goldsmith’s art have been recovered from the tombs of both countries. The HEBREWS, taught by the Egyptians, made their ark, mercy-seat, altar of incense, seven-branched candlestick, and other golden ornaments, even in the desert of Sinai. The seven-branched candlestick is represented in sculpture on the arch of Titus at Rome. At BABYLON and NINEVEH gold is said to have been lavishly applied in gilding sculpture, and even walls; but it is suggested that an alloy of copper, the _aurichalcum_ of the Greeks, was the metal in reality used for this purpose. The heroes of the Greek epic had golden shields and helmets; breastplates and other large pieces of golden armour are among the recent discoveries at Mycenæ; at Kourioum in the island of Cyprus also great stores of golden ornaments of a very early age have been discovered. In SCYTHIAN tombs in Russia also, about Kertch, beautiful relics of Grecian work in gold have been found, showing that in the very earliest ages the skill and taste applied to this art were not less than those of later times. The gold jewellery of ancient India also excelled that of modern date, but none, before or since, ever equalled the great age of GREEK art. Pausanias describes a statue of Athene, made by Pheidias, and kept in the Parthenon at Athens, of ivory and gold—_chryselephantine_—delicately worked all over; and a still larger statue of Jupiter, of the same materials. Native gold alloyed with one-fifth silver was greatly prized by the Greek artists, who gave it the name of _electrum_. Examples of this electrum are rare; there is a vase at St. Petersburg. The ROMANS used to pay enormous prices for their household plate; for an example, the bowl of Pytheas, on which were represented Ulysses and Diomed with the palladium, fetched 10,000 denarii, or about 330_l._ _per ounce_. Few specimens of Roman art have escaped destruction. (Fig. 7.) Of the age of BYZANTINE splendour we are told that the Emperor Acadius, early in the 5th century, sat on a throne of massive gold, his chariot being also of gold, &c. In the 9th century the throne of Theophilus was overshadowed by a tree of gold, with birds in the branches, and at the foot two lions all gold. The lions roared and the birds piped in the branches. A remarkable wealth of ancient goldsmith’s work has been found in IRELAND, consisting principally of personal ornaments. In the 9th and 10th centuries the Irish workmanship was unsurpassed in Europe. It consisted principally of objects for religious use, and is characterized by a filagree of extraordinary richness, akin to the intricate traceries of the Irish illuminated work on MS. of the same date and derivation. In the 10th and 11th centuries there was a great revival of art throughout Europe. In GERMANY, the abbey of Hildesheim, under Bishop Bernward, became the centre of a school of goldsmiths, and some beautiful specimens of hammered gold, by the bishop’s hand, are preserved.

=Gold=, in Christian art. (See YELLOW.)

=Gold, Cloth of=, is mentioned in the Pentateuch, and was common throughout the East in all ages. It was originally wrought, not in rounded wire but flat, as the Chinese, the Indians, and the Italians (their _lama d’oro_) weave it now. The early Roman kings wore tunics of gold, and the Romans used it as a shroud for burial. King Childeric, A. D. 482, was buried at Tournai in a mantle of golden stuff. It was much favoured in England for church vestments, and by royalty, especially by Edward IV. and Henry VIII. and the nobility of their time. (The different varieties are described in their order. See ACCA, ARESTE, BATUZ, CHRYSO-CLAVUS, CICLATOUN, DORNECK, SAMIT.)

=Goldbeater’s Skin=, prepared from a membrane found in the stomach of the ox, is used to separate leaf-gold in the process of gold-beating.

=Golden Fleece.= An Order of Knighthood instituted on the 10th of January, 1429, by Philip, Duke of Burgundy. The COLLAR is composed of double steels, interwoven with flint-stones, emitting sparks of fire, at the end whereof hangs on the breast a Golden Fleece. The fusils are joined two and two together, as if they were double BB’s (the cyphers of Burgundy). The _flint-stones_ are the ancient arms of the Sovereigns of Burgundy, with the motto “_Ante ferit quam flamma micet_.” (See Fig. 342.) The motto of the Order is “_Pretium non vile laborum_.” There are four great officers, viz. the Chancellor, Treasurer, Register, and a King of Arms, called _Toison d’Or_. The BADGE consists of a Golden Fleece, suspended from a flint-stone, which is surrounded with flames of gold.

=Golden Spur.= An Order of Knighthood said to have been instituted by Pius IV., at Rome, in 1559. They are sometimes spoken of as the CHEVALIERS PIES or PIORUM, and must be distinguished from those who are created knights on the coronation or marriage days of Emperors and Kings, and who receive at the same time the _Spurs of Honour_. These alone are entitled to the appellation of EQUITES AURATI. [Cf. _Peter de Bellet_, _Favin_, &c.]

=Golden Stole= of Venice. (See STOLA D’ORO.)

=Golione=, O. E. A kind of gown.

=Gondola=, It. A Venetian pleasure-boat or barge.

=Gonfalon= or =Gonfanon=, Fr. (1) A richly-worked pointed banner carried upon a lance; 13th century. (2) An ecclesiastical banner.

=Gonfalonier=. The bearer of a gonfalon.

=Goniometer= (γωνία, an angle, &c.). An instrument for measuring the angles of crystals.

=Gonjo=, O. E. (14th century). Said to be the _gorget_.

=Gopouras=, Hind. The pyramid-shaped door of the Hindoo temples. _Dwararab’ha_, or door of splendour, was the name given to a door with one or two tiers; _dwarasala_, or door of the dwelling, a door with two or four tiers; _dwaraprasada_, or propitious door, a door with three to five tiers; _dwaraharmya_, or door of the palace, a door with five to seven tiers; lastly, _dwaragopouras_, or door-tower with seven to sixteen tiers.

=Gorged=, Her. Wearing a collar.

=Gorget=, Fr. A defence or covering for the neck.

=Gorgoneia.= Masks of the Gorgon’s head, which were fixed as bosses upon walls or shields.

=Gossamer=, O. E. (properly _God’s summer_). The name is attributed to an old legend that the fine filaments so called are the fragments of the winding-sheet of the Virgin Mary, which fell away from her as she was taken up to heaven.

=Gothamites=, O. E. The inhabitants of the village of Gotham in Northumberland, renowned for their stupidity. A reprint of the tale called “The Wise Men of Gotham” appeared in 1840.

=Gouache=, Fr. This term is applied to the use in water-colour painting of opaque colours more or less mixed and modified with white. The process is extremely ancient, known to the Chinese and Indians of the earliest times, and to the Greeks and Romans. It was the method used by mediæval illuminators. Its result is a velvety reflection of the light.

=Gourd of Noah.= A piece of ancient blue faience from Asia Minor. According to the tradition current in the country, these vessels, which are in great veneration, would go back to such remote antiquity that it was by one of them that Noah was betrayed into the first act of inebriety recorded in history. (_Jacquemart._)

=Gouttée=, =Guttée=, Her. Sprinkled over with drops of gold, silver, blue (tears), red (blood), or black (_poix_).

=Gown= (British _gwn_, Norman _gunna_). The men wore gowns in the Middle Ages, the women at all times.

=Grabatus=, R. (κράβατος). A sort of low framework, consisting of a network of cords, used to support a mattress; it was the least comfortable kind of bed; whence the French word _grabat_ to denote a sorry kind of bed.

=Gradient=, Her. Walking.

=Gradus=, R. A flight of steps leading to a temple; the tiers of seats in a theatre or amphitheatre, &c.

=Græcostasis.= A part of the Roman forum, where the Greek ambassadors stood to hear the debates.

=Graffiti=, It. Lines drawn with a graver upon clay or plaster. (See SGRAFFITI.)

=Grafted=, Her. Inserted and fixed.

=Grand-garde=, Plate armour to cover the breast and left shoulder, worn outside the usual armour in jousting at tournaments.

=Grand Quarters=, Her. The four primary divisions of a shield when it is divided per cross or quarterly.

=Graphite.= Plumbago.

=Graphometer.= A mathematical instrument, called also a semicircle.

=Graphotype.= A method of producing book illustrations for printing along with type, without the art of an engraver.

=Grass-green.= (See CHRYSOCOLLA.)

=Graver= or =Burin=. An engraving-tool. (See CHALCOGRAPHY.)

=Grazioso=, It. In Music, an intimation to perform the music smoothly and gracefully.

=Greaves.= Plate armour for the legs.

=Grece=, O. E. A step, or flight of stairs. (See GRYSE.)

=Greeces=, Her. Steps.

=Greek Lace.= A kind of cutwork, described under LACE (q.v.).

=Green=, in Christian art, or the emerald, is the colour of spring; emblem of hope, particularly hope in immortality; and of victory, as the colour of the palm and the laurel.

=Green.= (See CARBONATES OF COPPER, OXIDES OF COPPER, SCHEELE’S GREEN, SAP GREEN, CHROME GREEN, &c.)

=Green Bice.= Green cinnabar. (See CHROME GREEN.)

=Green Earth= (burnt terra verde) is a brown pigment, very useful for landscape painting in oil colours; it is not affected by exposure to strong light or impure air.

=Green Lakes.= (See PURPLE LAKES.)

=Green Verditer.= (See VERDITER.)

=Gregorian Calendar.= The calendar as reformed by Pope Gregory XIII. in 1582.

=Gregorian Music.= A collection of chants, originally compiled by Gregory I. (the Great), A. D. 600. “It was observed by St. Gregory, a great musician of his time, that the _Ambrosian Chants_, handed down traditionally to a great extent, had become corrupted; he therefore subjected them to revision, and added other modes and scales to those four which Ambrose had retained. This was done by taking away the upper tetrachord from the Ambrosian scales, and placing it below the lower tetrachord.” (See _Music_, by the Rev. J. R. Lunn, B.D., in _Dictionary of Christian Antiquities_.)

=Grey=, in Christian art, the colour of ashes, signified mourning, humility, and innocence accused.

=Greybeards=, O. E. Stone-ware drinking-jugs, with a bearded face on the spout.

=Gridiron= (It. _la graticola_). The attribute of St. Lawrence.

=Griffin.= (See GRYPHUS.)

=Grinding.= Pigments are generally ground in poppy or nut oil, which dry best and do not deaden the colours. It is essential that these oils be in the purest state, bright and clear. A good oil ought to be so dry in five or six days that the picture can be repainted.

=Griphus=, Gr. and R. (γρῖφος). Literally, a fishing-net, and thence a riddle propounded by guests at a banquet.

=Grisaille=, Fr. A style of painting _in grey_, by which solid bodies are represented as if in relief; adapted for architectural subjects.

=Groat.= An old English silver coin, equal to 4_d._ In England, in the Saxon times, no silver coin larger in value than a penny was struck, nor after the Conquest till the reign of Edward III., who about 1351 coined _grosses_ or great pieces, which went for 4_d._ each; and so the matter stood till the reign of Henry VII., who in 1504 first coined shillings.

=Grogram= (Fr. _gros-grains_). A coarse woollen cloth with large woof and a rough pile. Grogram gowns were worn by countrywomen, 15th to 17th centuries. _Fairholt_ says that the mixed liquor called _grog_ obtained its name from the admiral who ordered it to be given to the sailors; who from wearing a grogram coat was called “Old Grog.”

=Groin=, Arch. The angular curve formed at the intersection of a vaulted roof; the line made by the intersection of arched vaults crossing each other at any angle. (See Fig. 173.)

=Grolier Scroll.= A beautiful and elaborate style of decoration for bookbinding, introduced by _Grolier_, a celebrated patron of bookbinding, in the 15th century.

=Groma= and =Gruma=, R. A quadrant; an instrument used by land-surveyors. In the plural, _grumæ_ denotes the intersection of two roads cutting each other at right angles.

=Grotesques=, Arch. (It. _grottesco_, the style in which grottoes were ornamented). Figures of a monstrous, comic, or obscene character, which were spread in profusion over the façades of churches by mediæval artists (_ymaigiers_); in stone and in wood; on choir-stalls and the wood-work and wainscoting of interiors. Figs. 367, 368 represent figures upon the stalls and columns in Rouen Cathedral.

=Grounds= or =Priming=. In painting, the first coat of colour laid all over the canvas, upon which the picture is to be painted.

=Grus=, Lat. (_a crane_). A constellation of the southern hemisphere.

=Gry.= A measure containing ⅒ of a _line_. A _line_ is ⅒ of a _digit_, a _digit_ is ⅒ of a foot, and a (philosophical) foot is ⅓ of a pendulum whose vibrations, in the latitude of 45°, are each equal to one second of time, or ¹⁄₆₀ of a minute.

=Gryphus=, =Griffin=, Gen. (γρύψ). A fabulous animal, represented with the body of a lion, and the head and wings of an eagle. In ancient art it was applied in the decoration of friezes, one of the finest specimens being that at the temple of Antoninus and Faustina at Rome. It was a heraldic symbol among the Scythians, and is the ancient crest of the city of London. As an emblem this monster symbolizes the destroying power of the gods.

=Gryse=, =Grece=, =Tredyl=, or =Steyre=, O. E. A step, a flight of stairs.

=Guacos= or =Huacos=, Peruv. The consecrated burial-places of the ancient Peruvians.

=Guardant=, Her. Looking out from the field, as the lions in Fig. 370.

=Guazzo=, It. A hard and durable kind of distemper painting, used by the ancients, calculated to resist damp and to preserve the colours.

=Gubbio=. A celebrated Italian botega of ceramic art, founded in 1498 by Giorgio Andreoli, the reputed inventor of the secret of metallic lustres. Fig. 371 is a cup bearing upon a fillet the inscription “_Ex o Giorg._,” “of the fabric of Giorgio.”

=Gubernaculum=, R. (_guberno_, to direct). A rudder; originally an oar with a broad blade, which was fixed, not at the extremity, but at each side of the stern. A ship had commonly two rudders joined together by a pole.

=Guelfs= or =Guelphs=. (See GHIBELLINES.)

=Gueux, Badge of the.= The celebrated Netherlandish confraternity of the Gueux (or Beggars), which had its origin in a jest spoken at a banquet, assumed not only the dress, but the staff, wooden bowl, and wallet of the professional beggar, and even went so far as to clothe their retainers and servants in mendicant garb. The badge represents two hands clasped across and through a double wallet.

=Guidon=, Fr. (1) The silk standard of a regiment; (2) its bearer.

=Guige=, Her. A shield-belt worn over the right shoulder.

=Guild=, O. E. (Saxon _guildan_, to pay). A fraternity or company, every member of which was _gildare_, i. e. had to pay something towards the charges. Merchant guilds first became general in Europe in the 11th century. (See _Anderson’s History of Commerce_, vol. i. p. 70.)

=Guilloche.= A series of interlaced ornaments on stone, resembling network.

=Guilloched.= Waved or engine-turned.

=Guimet’s Ultramarine.= A valuable substitute for the more costly preparation. It is transparent and durable.

=Guimet’s Yellow= is the deutoxide of lead and antimony, useful in enamel or porcelain painting.

=Guinea.= An English coin first struck _temp._ Car. II., and so called because the gold was brought from the coast of _Guinea_ (the Portuguese _Genahoa_). It originally bore the impress of an elephant. The sovereign superseded it in 1817.

=Guisarme.= An ancient weapon of the nature of a pike or bill. (See _Meyrick_.)

=Guitar= (Spanish _guitarra_). A stringed musical instrument, played as a harp with the fingers.

=Gules=, Her. (Fr. _gueules_). Red, represented in engraving by perpendicular lines.

=Gum-arabic= dissolved in water constitutes the well-known vehicle for water-colour painting—_gum-water_.

=Gunter’s Line.= A line of logarithms graduated on a ruler, for practical use in the application of logarithms to the ordinary calculations of an architect, builder, &c. Other similar instruments invented by the great mathematician (+ 1626) are _Gunter’s Quadrant_ and _Gunter’s Scale_, used by seamen and for astronomical calculations.

=Gurgustium=, R. A cave, hovel, or any dark and wretched abode.

=Gussets= were small pieces of chain mail at the openings of the joints beneath the arms.

=Guttæ=, Arch. (drops). Small conical-shaped ornaments, used in the Doric entablature immediately under the mutule beneath the triglyph. (See Fig. 265.)

=Guttée=, Her. (See GOUTTÉE.) Sprinkled over.

=Gutturnium=, R. (_guttur_, the throat). A water-jug or ewer; it was a vessel of very elegant form, and was used chiefly by slaves for pouring water over the hands of the guests before and after a meal. (See ABLUTIONS.)

=Guttus=, R. (_gutta_, a drop). A vessel with a very narrow neck and mouth, by means of which liquids could be poured out drop by drop; whence its name. It was especially used in sacrifices, and is a common object upon coins of a religious character.

=Gutty=, Her. Charged or sprinkled with _drops_.

=Gwerre=, O. E. The choir of a church.

=Gymmers=, O. E. Hinges. (The word is still used.)

=Gymnasium=, Gr. (γυμνάσιον; γυμνὸς, stripped). A large building used by the Greeks, answering to the Roman _palæstra_, in which gymnastics were taught and practised. There were also attached to it assembly rooms for rhetoricians and philosophers.

=Gynæceum=, Gr. (from γυνὴ, a woman). That part of the Greek house which was set apart for the women. (See DOMUS.)

=Gypsum= (Gr. γύψος). The property of rapid consolidation renders gypsum very available for taking casts of works of art, &c. It is much employed in architectural ornaments. The gypsum of Paris is called _Montmartrite_, and forms the best _Plaster of Paris_, as it resists the weather better than purer sorts. It contains 17 per cent. of carbonate of lime. (See also ALABASTER.)

=Gyron=, Her. A triangular figure, one of the subordinaries.

=Gyronny=, Her. A field divided into gyrons.

H.

=H=, as an old Latin numeral, denotes 200, and with a dash above it (H̅) 200,000.

=Habena=, R. (_habeo_, to hold). A term with numerous meanings, all of which were connected more or less with the idea of a thong or strap. In the singular, it signifies a halter; in the plural, _habenæ_, reins.

=Habergeon=. A coat of mail, or breastplate.

=Habited=, Her. Clothed.

=Hackbut= or =Hagbut=. Arquebus with a hooked stock.

=Hackney Coach= (from the French _coche-à-haguenée_). The _haguenée_ was a strong kind of horse formerly let out on hire for short journeys.

=Hadrianea=, R. Small buildings in which Christians were allowed to meet, in virtue of an edict granted in their favour by the Emperor Hadrian.

=Hæmatinon=, R. (αἱμάτινον, of blood). A kind of glassy substance of a beautiful red, and susceptible of taking a fine polish. It was used to make small cubes for mosaic or small works of art.

=Hagiographa= (_sacred writings_). A name applied to those books of Scripture which, according to the Jewish classification, held the lowest rank in regard to inspiration. These are the books of Ruth, Psalms, Job, Proverbs, Ecclesiastes, Song of Solomon, Lamentations, Daniel, Esther, Ezra, and Chronicles.

=Hair.= The _Assyrian_ monarchs are represented with beard elaborately plaited, and hair falling in ringlets on the shoulder, which may have been partly artificial, like that of the Persian monarchs, who, according to Xenophon, wore a wig. Both the hair and beard were dyed, and the eyes blackened with kohl, &c. (_Layard._) The _Egyptians_ kept the head shaved, and wore wigs and beard-boxes. The _Hebrews_ generally wore the hair short, but the horse-guards of King Solomon “daily strewed their heads with gold dust, which glittered in the sun.” (_Josephus._) The ancient _Greeks_ wore their hair long. The _Athenians_ wore it long in childhood, had it cut short at a solemn ceremony when they became eighteen years of age, and afterwards allowed it to grow, and wore it rolled up in a knot on the crown of the head, fastened with golden clasps (_crobylus_, _corymbus_). Women wore bands or coifs (_sphendone_, _kekryphalus_, _saccus_, _mitra_). Youths and athletes are represented with short hair. The favourite colour was blonde (_xanthus_); black was the most common. The ancient _Romans_ also wore long hair; about 300 B.C. the practice of wearing it short came in (_cincinnus_, _cirrus_). The Roman women anciently dressed their hair very plainly, but in the Augustan period adopted some extravagant fashions. Each of the gods is distinguished by his peculiar form of hair: that of Jupiter is long and flowing; Mercury has close curling hair, &c. The _Danes_, _Gauls_, and _Anglo-Saxons_ wore long flowing hair, and the shearing of it was a punishment: when Julius Cæsar conquered the Gauls, he cut off their long hair. Among the early _Frankish_ kings long hair was the privilege of the blood royal. From the time of _Clovis_ the French nobility wore short hair, but as they grew less martial the hair became longer. François I. introduced short hair, which prevailed until the reign of Louis XIII., which was followed by the period of periwigs and perukes of Louis XIV. The variations from the Conquest to the last generation in _England_ are so striking and frequent that each reign may be distinguished by its appropriate head-dress. (Consult _Fairholt’s Costume in England_, _Planché’s Cyclopædia of Costume_, &c.)

=Hair-cloth.= (See CILICIUM.)

=Hair Pencils= or =Brushes= are made of the finer hairs of the marten, badger, polecat, camel, &c., mounted in quills or white iron tubes. The round brushes should swell all round from the base, and diminish upwards to a fine point, terminating with the uncut ends of the hair. (See FITCH.)

=Halbert.= A footman’s weapon in the form of a battle-axe and pike at the end of a long staff.

=Halcyon.= The ancient name of the _Alcedo_ or king-fisher; hence—

=Halcyon Days=, i. e. the calm and peaceful season when the king-fisher lays its eggs in nests close by the brink of the sea; i. e. seven days before and as many after the winter solstice.

“Seven winter dayes with peacefull calme possest
_Alcyon_ sits upon her floating nest.”
(_Sandy’s Ovid, Met._ b. xi.)

=Hall-marks.= The Goldsmiths of London formed their company in 1327, and were incorporated by charter in 1392. The hall-marks, in the order of their introduction, are as follows:—1. The leopard’s head, called the king’s mark. 2. The maker’s mark, originally a rose, crown, or other emblem with or without initials. 3. The annual letter, in the order of the alphabet from A to V, omitting J and U. This mark is changed every twenty years. 4. The lion _passant_, added in 1597. 5. Instead of the leopard’s head (1) for the king’s mark, the lion’s head _erased_, introduced in 1697 when the standard was changed, and, 6, a figure of Britannia substituted for the lion _passant_ (4) at the same time. Plate with this mark is called _Britannia_ plate. The old standard (of 11 oz. 2 dwt. pure gold in the lb.) was restored in 1719. 7. The head of the reigning sovereign in profile, ordered in 1784, when a fresh duty was laid upon plate.

=Halling=, O. E. Tapestry.

=Hallowmas=, Chr. The feast of All Souls, or the time about All Souls’ and All Saints’ Days, viz. the 1st and 2nd of November; and thence to CANDLEMAS, or the 2nd of February.

=Halmos=, Gr. and R. A vessel of round form, supported on a raised stand entirely distinct from the vessel itself; it was used as a drinking-cup.

=Halmote= or =Halimote=. The Saxon name for a meeting of tenants, now called a _court baron_.

=Halteres= (Gr. ἁλτῆρες), in the gymnastic exercises of the Greeks and Romans, were masses of lead, iron, or stone held in the hands to give impetus in leaping, or used as dumb-bells.

=Ham= (Scotch _hame_). A Saxon word for a place of dwelling, _a home_; hence “HAMLET.” “This word,” says Stow, “originally meant the seat of a freeholder, comprehending the mansion-house and adjacent buildings.”

=Hama=, Gr. and R. (ἄμη or ἅμη). A bucket used for various purposes.

=Hamburg White.= (See CARBONATE OF LEAD, BARYTES.)

=Hames= or =Heames=, Her. Parts of horses’ harness.

=Hammer= or =Martel=, Her. Represented much like an ordinary hammer.

=Hamus= or =Hamulus=. A fish-hook.

=Hanaper=, O. E. (Mod. _hamper_). A wicker basket. (Fig. 376.) Writs in the Court of Chancery were thrown into such a basket (_in hanaperio_), and the office was called from that circumstance the Haniper Office. It was abolished in 1842.

=Handkerchiefs= embroidered in gold were presented and worn as favours in the reign of Elizabeth. Paisley handkerchiefs were introduced in 1743.

=Handle=, Gen. In antiquity the leaves of a door were fitted with handles like those of our own day. Fig. 377 represents a bronze handle consisting of a double ring. Of these, the inner one could be raised so as to allow a person’s hand to take hold of it, and draw the door his own way. This work of art is at the present time in the Museum of Perugia.

=Handruffs=, O. E. Ruffles.

=Handseax=. The Anglo-Saxon dagger.

=Hanger=, O. E. A small sword worn by gentlemen with morning dress in the 17th century.

=Hangers= or =Carriages=, O. E. Appendages to the sword-belt from which the sword hung, often richly embroidered or jewelled.

=Hanselines= (15th century). Loose breeches. (See SLOP.)

=Haphe=, Gr. and R. (ἁφὴ i.e. a grip). The yellow sand with which wrestlers sprinkled themselves over after having been rubbed with oil. The object of this sprinkling was to enable the wrestlers to take a firmer grasp one of the other.

=Hara=, Gr. and R. A pig-sty, especially for a breeding sow. The term also denoted a pen for geese.

=Hare=, Chr. In Christian iconography the hare symbolizes the rapid course of life. Representations of this animal are met with on lamps, engraved stones, sepulchral stones, &c.

=Harlequin= (It. _Harlequino_, or little Harlay). The name is derived from that of a famous Italian comedian, who appeared in Paris in the time of Henri III., and from frequenting the house of M. de Harlay was so called by his companions. (_Ménage_.)

=Harmamaxa=, Gr. and R. (ἁρμ-άμαξα). A four-wheeled carriage or litter covered overhead, and enclosed with curtains. It was generally large, and drawn by four horses, and richly ornamented. It was principally used for women and children.

=Harmonica.= A musical instrument consisting of a number of glass cups fixed upon a revolving spindle, and made to vibrate by friction applied to their edges. These “musical glasses” are described in a work published in 1677. A _harpsichord-harmonica_ is a similar instrument, in which finger-keys like those of a pianoforte are used. (See the article in _Encyl. Brit._, 8th edition.)

=Harmonium.= A musical instrument having a key-board like a pianoforte, and the sounds (which resemble those of organ pipes) produced by the vibration of thin tongues of metal.

=Harp.= The EGYPTIANS had various kinds of harps, some of which were elegantly shaped and tastefully ornamented. The name of the harp was _buni_. Its frame had no front pillar. The harps represented on the monuments varied in size from 6½ feet high downwards, and had from 4 to 28 strings. A beautiful Egyptian harp, in the Louvre collection, is of triangular shape with 21 strings, but, like all the harps represented on the monuments, it has no fore-pillar. The strings were of catgut. ASSYRIAN sculptures also represent harps. These also had no front pillar, and were about 4 feet high, with ornamental appendages on the lower frame. The upper frame contained the sound-holes and the tuning-pegs in regular order. The strings are supposed to have been of silk. The GREEK harp, called _kinyra_, resembled the Assyrian, and is represented with 13 strings: it is an attribute of Polyhymnia. The ANGLO-SAXONS called the harp the _gleo-beam_, or “glee-wood;” and it was their most popular instrument. King David playing a harp is represented on an A.S. monument of the 11th century. It was the favourite instrument of the GERMAN and CELTIC bards, and of the SCANDINAVIAN skalds. It is represented with 12 strings and 2 sound-holes, and having a fore-pillar. A curious IRISH harp of the 8th century, or earlier, is represented in Bunting’s “Ancient Music of Ireland,” having no fore-pillar. The FINNS had a harp (_harpu_, _kantele_) with a similar frame, devoid of a front pillar. In CHRISTIAN ART a harp is the attribute of King David and of St. Cecilia. St. Dunstan is also occasionally represented with it. In Heraldry the harp is the device and badge of Ireland. The Irish harp of gold with silver strings on a blue field forms the third quarter of the royal arms.

=Harpaga=, =Harpago=, Gr. and R. A general term, including any kind of hook for grappling; more particularly a military engine invented by Pericles, and introduced into the Roman navy by Duillius. It consisted of a joist about two yards and a half long, each face of which was coated with iron, and having at one end a harpoon of iron or bronze; the other end was fitted with an iron ring, to which a rope was attached, so as to enable it to be drawn back when it had once grappled a ship or its rigging. _Harpago_ or _wolf_ was the term applied to a beam armed with a harpoon, which was employed to break down the tops of walls, or widen a breach already made. [A flesh-hook used in cookery to take boiled meat out of the caldron.]

=Harpastum=, R. A small ball employed for a game in which the players formed two sides. They stationed themselves at some distance from a line traced on the ground or sand where the _harpastum_ was placed. At a given signal each player threw himself upon the ball, in order to try and send it beyond the bounds of the opposite party.

=Harpies=, Gen. (Ἅρπυιαι, i. e. the Snatchers). Winged monsters, daughters of Neptune and Terra, three in number, viz. _Aëllo_ (the tempest), _Ocypetê_ (swift-flying), and _Cêlêno_; representing the storm-winds. They had the faces of old women, a vulture’s body, and huge claws; they were the representatives of the Evil Fates, and the rulers of storms and tempests. In Christian iconography the Harpies symbolize the devil and repentance. [In the so called “Harpy tomb” in the British Museum they are represented carrying off Camiro and Clytia, the daughters of Pandarus of Crete, as a punishment for his complicity with Tantalus in stealing ambrosia and nectar from the table of the gods.]

=Harpsichord.= A musical instrument intermediate between the _spinet_, _virginals_, &c., and the _pianoforte_, which supplanted it in the 18th century. It may be described as a horizontal harp enclosed in a sonorous case, the wires being struck with jacks armed with crow-quills, and moved with finger-keys.

=Harquebus.= An improvement of the hand-gun introduced in the 15th century, applying the invention of the _trigger_.

=Hart.= A stag in its _sixth_ year.

=Hart= or =Hind=, in Christian art, originally typified solitude and purity of life. It was the attribute of St. Hubert, St. Julian, and St. Eustace.

=Hart=, Her. A stag with attires; the female is a hind.

=Hasta= (Gr. ἔγχος). A spear used as a pike for thrusting, or as a missile for hurling from the hand, or as a bolt from an engine. Homer defines the spear as “a pole heavy with bronze.” The _hasta amentata_, for hurling, had a leathern thong for a handle (_amentum_) in the middle; _hasta pura_ was a spear without a head, and was a much-valued decoration given to a Roman soldier who had saved a citizen’s life; _hasta celibarium_ was a spear which, having been thrust into the body of a gladiator as he lay dead in the arena, was afterwards used at marriages to part the hair of the bride. A spear was set up before a place where sales by auction were going on, and an auction-room was hence called HASTARIUM. Different kinds of spear were the _lancea_ of the Greeks; the _pilum_, peculiar to the Romans; the _veru_, _verutum_, or “spit,” of the Roman light infantry; the _gæsum_, a Celtic weapon adopted by the Romans; the _sparrus_, our English spar or _spear_, the rudest missile of the whole class; and many others mentioned under their respective headings in this work.

=Hasta Pura.= In Numismatics, a headless spear or long sceptre, an attribute of all the heathen deities; a symbol of the goodness of the gods and the conduct of providence, equally mild and forcible.

=Hastarium=, R. A room in which sales were made _sub hasta publica_, that is, by public auction, under the public authority indicated by the spear. The term also denoted a list or catalogue of sale.

=Hastile=, R. (_hasta_). The shaft of a spear, and thence the spear itself, a goad, &c.

=Hat= (A.S. _haet_, a covering for the head). Froissart describes hats and plumes worn at Edward’s court in 1340, when the Garter order was instituted. Hats were originally of a scarlet-red colour, and made of “a fine kinde of haire matted thegither.” A remarkable series of changes in the fashion of hats is given in _Planché’s Encyclopædia of Costume_. Our illustration represents a young Venetian noble of the Middle Ages. (See also the illustrations to POURPOINT, BIRETTA, BOMBARDS, CALASH, CAPUCHON, CHAPEAU, CORONETS, &c.)

=Hatchment=, Her. (for _atchievement_). An achievement of arms in a lozenge-shaped frame, placed upon the front of the residence of a person lately deceased, made to distinguish his rank and position in life.

=Hauberk= (Germ. _Hals-berg_, a throat-guard). A military tunic of ringed mail, of German origin, introduced in the 12th century.

=Haumudeys=, O. E. A purse.

=Hauriant=, Her. Said of fishes upright, “sucking the air.” (Fig. 381.)

=Hautboy.= A wind instrument of the reed kind.

=Haversack= (Fr. _havre-sac_). A soldier’s knapsack.

=Hawk=, Egyp. This bird symbolizes the successive new births of the rising sun. The hawk is the bird of Horus. It stood, at certain periods, for the word _God_, and, with a human head, for the word _soul_. The sun (_Ra_) is likewise represented with a hawk’s head, ornamented with the disk.

=Head-piece.= An ornamental engraving at the commencement of a new chapter in a book.

=Head-rail.= The head-dress worn by Saxon and Norman ladies.

=Healfang=, A.S. The pillory, or a fine in commutation. “_Qui falsum testimonium dedit, reddat regi vel terræ domino_ HEALFANG.”

=Heang-loo=, Chinese. An incense-burner.

=Heart.= On numerous Christian tombs hearts maybe seen sculptured. Many archæologists have attempted to explain their meaning as symbols, but without entering on an unprofitable discussion of that question, it may be noticed that, in many cases, what archæologists have supposed to be hearts were nothing but ivy-leaves, which served as marks of separation between different words or sentences. Fig. 382 represents an inscription at Alise in which ivy-leaves figure, together with an ornament which some would insist were flames, if they were to take the leaves for hearts. When inscriptions, however, are defaced, the shape of the leaves is not nearly so distinguishable as in the figure. [One of the most frequent methods in which this emblem is introduced in Christian art is that the Saviour, or the Virgin Mary, is represented opening the breast to display the living heart—the natural symbol of Love, Devotion, or Sorrow. The Heart is an attribute of St. Theresa, St. Augustine, and other saints. The flaming heart is the emblem of charity. The heart pierced by seven daggers symbolizes the “seven sorrows” of Mary.]

=Hecatesia=, Gr. (Ἑκατήσια). Festivals held at Athens in honour of Hecatê.

=Hecatomb=, Gr. and R. (ἑκατόμβη). A sacrifice offered in Greece and Rome under special circumstances, and at which a hundred head of cattle (ἑκατὸν) were slain; whence the name of the festival. [The term was generally applied to _all_ great sacrifices, of much less extent than that implied by its etymological meaning.]

=Hecatompylæ=, Gr. (ἑκατόμ-πυλαι). The city with a hundred gates; a name given to the Egyptian Thebes.

=Hecatonstylon=, =Hecatonstyle=, Gr. and R. (ἑκατὸν and στῦλος). A portico or colonnade with a hundred columns.

=Hecte= or =Hectæus=, Gr. = a sixth (R. _modius_). In dry measure, the sixth part of the medimnus, or nearly two gallons English. Coins of uncertain value bore the same name; they were sixths of other units of value.

=Hegira= (Arabic _hajara_, to desert). The flight from Mecca, 16th July, A. D. 622, from which Mohammedan chronology is calculated.

=Helciarius=, R. One who tows a boat. He was so called because he passed a rope round his body in the way of a belt, the rope thus forming a noose (_helcium_).

=Helepolis=, Gr. and R. (ἑλέ-πολις, the taker of cities). A lofty square tower, on wheels, used in besieging fortified places. It was ninety cubits high and forty wide; inside were nine stories, the lower containing machines for throwing great stones; the middle, large catapults for throwing spears; and the highest other machines. It was manned with 200 soldiers. The name was afterwards applied to other siege engines of similar construction.

=Helical=, Arch. (ἕλιξ, a wreath). A spiral line distinguished from _spiral_. A staircase is _helical_ when the steps wind round a cylindrical newel; whereas the _spiral_ winds round a cone, and is constantly narrowing its axis. The term is applied to the volutes of a Corinthian capital. (See HELIX.)

=Heliochromy= (Gr. ἥλιος, the sun, and χρῶμα, colour). Process of taking coloured photographs.

=Heliopolites=, Egyp. One of the nomes or divisions of Lower Egypt, capital An, the sacred name for Heliopolis near Cairo.

=Heliotrope.= The _Hæmatite_ or _blood-stone_; a siliceous mineral of a dark green colour, commonly variegated with bright red spots.

=Heliotropion=, Gr. A kind of sun-dial. (See HOROLOGIUM.)

=Helix=, Arch. (ἕλιξ, anything spiral). A small volute like the tendril of a vine placed under the Corinthian abacus. They are arranged in couples springing from one base, and unite at the summit.