Chapter M (8)

=Tally=, O. E. (Fr. _tailler_, to cut.) An ancient method of keeping record of monies advanced to the Royal Exchequer. A _tally_ was a piece of wood inscribed with a receipt, which was split by an officer, and one part delivered to the lender, and the other, called the _Stock_, preserved in the Tally-office in the Exchequer. Hence the name Stocks for the Government securities. After the disuse of the tallies in 1782 the old ones were used for firing in the Houses of Parliament, and caused their destruction in 1834.

=Talmud= (Chaldean, lit. instruction,) consists of two parts, the MISHNA and GEMARA; and contains the whole body of Hebrew law and traditions.

=Talus.= (1) R. The game of knuckle-bones. (See ASTRAGALUS.) (2) Arch. The sloping part of a work, a term in fortification.

=Talvace=, O. E. A shield or buckler, circular and projecting.

=Talvas=, O. E. An oblong _wooden shield_, 14th century.

=Tambour=, Fr. A small drum. Rich embroidery work done on a drum-shaped frame.

=Tamboura.= An ancient musical instrument of the lute or guitar kind. The Hindoos represent Ganesa, the god of wisdom, as a man with the head of an elephant, holding a tamboura in his hands.

=Tambourine.= A small drum with only one skin, played on by the hand.

=Tamine=, =Taminy=, =Tammy= (Fr. _tamis_, a sieve). A thin woollen textile, highly glazed.

=Tampion.= (See TOMPION.)

=Tang-fish.= Seals are so called in the Shetlands.

=Tankard.= (Norman Fr. Tankar.) A drinking-jug with a cover. The name is said to be compounded of _étain_, tin, and _quarte_, a quart measure. The Flemish had tankards of wood, with pegs down the sides, to measure the quantity drunk. (See Figs. 615 and 645.) (See POKAL.)

=Tapestry.= The introduction of _tapestry_ properly so called dates from the 12th century, when it began to rival the more ancient embroidered stuffs called _Sarrazinois carpets_. Tapestry is woven on looms, i. e. on a _warp_ rolled round two cylinders, and stretched out between them either vertically or horizontally, for the insertion of the _woof_ between and among the threads. When woven on a vertical warp, it is called high-warp (_haute-lisse_); when horizontal, low-warp (_basse-lisse_). The former produces, for many reasons, incomparably the finest work, and is the method adopted for the Gobelins and Savonnerie tapestries. The progress of the art has followed, especially in Flanders, that of painting, from which its models are derived. It has become less popular than it was during the present century, from the general disuse of hangings in the decoration of houses. Perhaps the best condensed account of this extensive subject is the work of M. Alfred de Champeaux, translated for the South Kensington Museum. (See BAYEUX TAPESTRY.)

=Tapul=, O. E. The perpendicular ridge down the centre of a breastplate.

=Tar-black.= A kind of _lamp-black_ prepared by the combustion of coal tar, or of the heavy oils of tar and schist.

=Targe=, Fr. Med. A dagger or small sword: “Les autres gens avoient _targes_ et _semitarges_, qui sont espées de Turquie.” (See SEMITARGE.)

=Targe= or =Target=, O. E. A round shield.

=Targe= (or =Pavoise=) =Futée=, Fr. A shield composed of several pieces, which loosened on being struck, and fell asunder. The Swabian jousters at Maximilian’s triumph are described (_Meyrick_, vol. ii.) as bearing these shields.

=Targe=, =Target=. (Welsh _targa_, wicker-work.)

=Targum=, Chaldee (lit. interpretation). A paraphrase, or lesson from the Old Testament in the Chaldee language.

=Tarn.= A mountain lake.

=Tarots.= Emblematical cards still used in Switzerland and parts of Germany. “They are unknown, except as curiosities, to the Parisians and to ourselves; but they are, nevertheless, the sole representatives of the original cards which the Gipsies brought with them into Europe.” (_Rev. E. S. Taylor._)

=Tarpaulin.= A tarred _palling_ or covering.

=Tars, Cloth of.= A web of silk and the downy wool of goats of Tibet, the forerunner of _cashmere_.

=Tarsia= or =Intarsia=. A kind of mosaic in woods; representing views of buildings and ornament of various kinds, by inlaying pieces of wood, of various colours and shades, into panels of walnut wood.

=Tarsus.= In _Anatomy_, the instep and socket of the ankle-bone.

=Tartan=, Fr. (_not_ Gaelic). The Highland plaid, the dress of the Scottish Highlanders, said to be derived from the Celta; the _Galli non braccati_.

=Tartarium.= Cloth of Tars was a costly cloth of royal purple, probably a mixture of silk and goat’s hair from Thibet. It is mentioned by Chaucer:—

“His coat armure was of cloth of Tars,
Couched with perles.”

=Tas= or =Tats=, Egyp. Amulets of gilded sycamore wood, cornelian, jasper, glass, &c., found suspended from the necks of mummies.

=Tassel-gentle=, O. E. (for tercel-gentle). A species of hawk. (_Shakspeare._)

=Tasses.= Flaps of armour attached to the bottom of the breastplate for the protection of the thighs.

=Tat= or =Dad=, Egyp. A sculptor’s stool; a religious emblem worn by gods and sacred animals round the neck. The term was also probably a name of Mendés.

=Tau=, =Taucross=. (1) Her. A cross formed like the letter T, so called in Greek. This charge is also called the Cross of St. Anthony. (2) Chr. As a motive for ornamental design the _tau_ is the ancient form of the episcopal staff as represented in the catacombs. Originally curved like the pagan _lituus_, it became in the 8th century straight. The Taus were often hollowed to contain relics, &c. (Consult _Ivories_, by _W. Maskell_, pp. 84, 85.)

=Tauntons.= A kind of broad cloth made at Taunton in Somersetshire.

=Tavolace= or =Talevas= (It. _tavolaccio_). A large thick wooden shield; like a _table_ (_tavola_) of wood (hence its name), 15th century.

=Tawdry.= Showy. The word is _said_ to be derived from _Ethelreda torquem_, St. Ethelred’s necklace, which was composed of rows of twisted lace, an ornament much used by Anglo-Saxon ladies. (_Stormont._)

=Tawdry Lace.= A kind of fine lace alluded to by Shakspeare, Spenser, &c. (_Halliwell._)

“Fimbriæ nundinis sanctæ Ethelredæ emptæ.” (_Coles._)

=Tawney=, O. E. A deep orange colour, used in the Middle Ages as a _livery_ colour.

=Tawney Coat=, O. E. The dress of summoner or apparitor. (_Shakspeare._)

=Taxidermy.= The art of preserving the skins of animals.

=Tazza=, It. An ornamental cup or vase, with a flat shallow bowl, standing on a foot, and with handles.

=Tchy=, Chinese. Twelve recurrent periods of the cycle of sixty years, represented by animals assigned to the twelve months, i. e. the signs of the Chinese Zodiac. They are: November, the _rat_; December, the _ox_; January, the _tiger_; February, the _rabbit_; March, the _dragon_; April, the _serpent_; May, the _horse_; June, the _hare_; July, the _ape_; August, the _hen_; September, the _dog_; October, the _boar_. The above are accordingly frequent accessories of designs on porcelain.

=Te Deum=, Chr. The first words and title of a hymn composed by St. Augustin and St. Ambrose about 390.

=Tegillum=, E. (dimin. of _tegulum_, a roof). A short mantle with a hood, made of a coarse material; worn by country people and fishermen.

=Tegula=, R. (Gr. κέραμος; Lat. _tego_, to cover). A roofing tile; originally of baked clay or wooden shingles. At an early date (620 B.C.) tiles of marble were introduced, and were followed by tiles of gilded bronze; _per tegulas exire_ means to go out by the opening in the roof of the atrium, the compluvium.

=Teheran Ware.= An inferior Persian majolica.

=Tela=, R. A loom, an essential adjunct to every large establishment in ancient Rome; _tela jugalis_ was the simplest description of weaving-loom. The _warp_ was called _stamen_ from its upright position; the _woof_ subtegmen or trama. In Greek στήμων and κρόκη.

=Telamones=, R. Figures of men, which were employed in lieu of columns to support an entablature. (See ATLANTES.) (Fig. 646.)

=Temo=, R. The pole of a carriage, waggon, plough, &c.

=Tempera Painting.= Painting with pigments mixed with chalk or clay, and diluted with weak glue or size; chiefly used in scene-painting and decoration. (See DISTEMPER.)

=Templars.= An order of knighthood introduced about A. D. 1118, and suppressed A. D. 1309. They wore a red Maltese cross on a white field, and bore a _banner_ showing that cross on a white field; and a second banner of black and white called Beau Séant, this word Beau Séant being their battle-cry. Their _badges_ were the AGNUS DEI, or Lamb and Flag; and a device representing two knights on one horse, indicating the original poverty of the order. This is blazoned in modern times as a _pegasus_, the two knights being mistaken for wings on a _flying horse_.

=Template.= (1) A model in thin board of an ornament to be produced in sculpture. (2) A short timber under a girder.

=Temple.= (See TEMPLUM.)

=Temple Church=, London—a round church—is a representative specimen of the transition period of architecture in England from the NORMAN to the EARLY ENGLISH. “The Eastern part is a most excellent specimen of plain light Early English, and its growing and slender piers are perhaps unequalled.” (_Rickman, Architecture in England_, &c.)

=Templet.= (See TEMPLATE.)

=Templum=, =Temple=, R. (τέμνω, to cut off). A Greek temple was not originally intended for worshippers, but as a shrine for the gods. In the earliest times the Greek temples were made of wood, and the primitive origin of them was probably a hollow tree in which the image was placed as in a niche. The early Greek temples were dark and gloomy, having no windows, but lighted through the door, or by lamps. At a very early stage in history, temples of great grandeur and beauty are mentioned. All temples were built in an oblong or round form, and were mostly adorned with columns; they were classified accordingly as _astyle_, without any columns; _in antis_, with two columns in front, between the _antæ_; _prostyle_, with four columns in front; or _amphiprostyle_, with four columns at each end; _peripteral_, with columns at each end and along the sides; or _dipteral_, with two ranges of columns all round, one within the other, &c. They were also described according to the number of columns in the porticoes, as _tetrastyle_, _hexastyle_, _decastyle_, &c.,—this number was never uneven; or according to the intercolumniation, as _pycnostyle_, _systyle_, _eustyle_, _diastyle_, or _aræostyle_. Many of the great temples consisted of three parts: the _pronaos_ or vestibule; the _cella_, properly the _naos_; and the _opisthodomos_.

=Tendrils= of a vine or other creeping plant, with which it clasps the objects that support it, furnish abundant suggestions for ornamental designs in scroll-work.

=Tenebrosi.= A school of Italian artists who devoted their attention to striking _Rembrandt_ effects of light and shade; represented by Caravaggio.

=Tenent=, =Tenant=. A term in French heraldry applied to human figures as SUPPORTERS.

=Tennée= or =Tawney=, Her. A deep orange colour, indicated by vertical lines crossing PURPURE.

=Tenon.= The end of a piece of wood, shaped to fit into another piece.

=Tenor.= In Music, a high male voice.

=Tensa= or =Thensa=, R. A triumphal car, probably in the form of a platform on wheels, and richly decorated, upon which the images of certain gods were paraded during the Circensian games. The ceremony was regarded as one of the highest solemnity, and the car was escorted by the senators in robes of state, who helped to drag the carriage or to lead the horses, with thongs attached for the purpose.

=Tenture=, Fr. Paper or tapestry hangings.

=Tepidarium=, R. (_tepidus_, lukewarm). (1) A warm room in a bath; used as a preparation for the SUDATORIUM. (2) The vessel in which the water was heated.

=Tercel=, O. E. The male hawk. (_Shakspeare._)

=Terce major.= A sequence of three best cards.

=Terebenthina.= Turpentine.

=Terebra=, R. (_tero_, to rub or wear away). (1) Any tool used for boring, such as a drill, a gimlet, an auger, &c. (2) A mechanical ram contrived to pierce the walls of a fortification.

=Terginum=, R. (_tergum_, the back). A leathern lash used for flogging slaves.

=Terminal Figures.= Statues of the god Terminus. (See TERMINI, HERMÆ.)

=Terminalia=, R. Festivals in honour of Terminus the god of boundaries; they took place yearly on the eighth day of the calends of March (23rd of February), which was the last day of the old Roman year.

=Termini=, =Terms=, R. The statues of the god TERMINUS, which consisted merely of posts or pillars for landmarks, were crowned with garlands by the proprietors of co-terminous lands.

“When Tarquin the Proud desired to build a temple to Jupiter upon the
Tarpeian rock, he begged all the inferior divinities to give up the
altars they had upon the rock in favour of the master of them all. All
the gods cheerfully consented except Terminus. This Terminus,
therefore, who refused to yield to Jupiter, was chosen by Erasmus for
his haughty device, with the motto _Cedo nulli_.” (_Mr. Palliser_,
_Historic Devices, &c._) (See Fig. 648.)

=Terra-cotta=, It. Baked clay; largely used in architectural ornament.

=Terra da Boccali=, It. (See TERRA DI LAVA.)

=Terra di Lava=, It. A clay which was anciently used in combination with charcoal to form a white ground for the reception of oil colours.

=Terra di Siena.= An ochreous earth producing a yellow and a deep orange pigment; useful for oil and water-colour painting. (See SIENA.)

=Terra Nera.= Black earth; an ancient pigment.

=Terra Verde.= (See GREEN EARTH.)

=Terraglia.= (See POTTERY.)

=Terretta=, It. (See TERRA DI LAVA.)

=Terry Velvet.= A kind of silk plush or ribbed velvet.

=Tertiary Colours=, produced by the mixture of two secondary colours, are _greys_, inclining to the primary or secondary colour which is in excess in their composition. (Consult _Chevreuil on Colours_.)

=Teruncius=, R. A silver coin equal in value to one-fourth of an as.

=Tessela=, R. (diminutive of _tessera_). A small cube of stone or marble used for making mosaic pavements (_tesselatum opus_ or _tesselata structura_).

=Tesselated pavement.= Inlaid or mosaic work composed of _tesselæ_. _Tesselatum flagrum._ (See FLAGRUM.) Cf. MUSIVUM OPUS. (Consult _Buckman and Newmarch_, _Remains of Roman Art in Cirencester_.)

=Tessera=, R. (Gr. κύβος). A cube, a die; _tesseræ_, _tesseræ lusoriæ_, dice of ivory, bone, or wood; the dice-box is _fritillus_. (Compare TALUS.) _Tessera hospitalis_ was an oblong token of wood or earthenware, exchanged among families agreed to mutual hospitality. Many of these tokens have the bust of Jupiter Hospitalis impressed; _tessera theatralis_, a pass to the theatre; _tessera militaris_ (Gr. σύνθημα), a tablet on which the watch-word or war-cry of the day was written; it was passed about the ranks before joining battle. _Tesseræ frumentariæ_ or _nummariæ_, vouchers for bread or money distributed by the magistrates among the poor. (Cf. TESSELA, TALUS, TABULÆ.)

=Testa=, R. A sherd of tiles or pottery, and thence an earthenware vase.

=Testaceum=, R. (_testa_). Made of tiles; the term was used to denote a roofing or pavement made with the fragments of broken tiles.

=Tester.= (1) Any flat _canopy_. The framework over a four-post bedstead. (2) A silver coin so called from the head (_teste_) of the king upon it. In the reign of Henry VIII. it was worth 12_d._ and afterwards 6_d._ French testers were struck by Louis XII. in 1513, and Scotch under Queen Mary in 1559.

=Testière=, Med. Fr. Originally, mailed armour for a horse’s head, subsequently a plate between the ears on which a crest was fixed. (See CHANFRON.)

=Testif=, Fr. Camel’s hair.

=Testudinatus=, R. Made in the form of a TESTUDO (q.v.); the term was applied either to a roof or a ceiling.

=Testudineus=, R. Made with tortoise-shells.

=Testudo=, R. (_testa_, a shell). (1) A tortoise, and thence a lyre of which the sounding bottom was made out of a tortoise-shell. (2) In Architecture, an arched ceiling, the four sides of which converge to a centre. (3) _Testudo arietaria_ was a movable wooden shed covered with skins and containing a battering-ram (Fig. 574). (4) Lastly the term denoted a kind of defensive roof formed by the shields of soldiers when advancing to the foot of a rampart (Fig. 649).

=Tetra-chordon=, Gr. and R. (τετρά-χορδον). Literally, having four strings; _hydraulos tetrachordon_ was a hydraulic organ with four pipes.

=Tetra-comus=, Gr. A banqueting-song sung at the festival of Bacchus during the fourth course (κῶμος).

=Tetra-doros= (sc. _later_), Gr. A peculiar kind of brick described by Vitruvius; it was called from its measuring four hand-breadths.

=Tetra-drachmum=, Gr. (τετρά-δραχμον). An Attic silver coin of the value of four _drachmæ_, or about 3_s._ 3_d._

=Tetra-foliated=, Arch. Said of any architectural decoration showing four foils.

=Tetragon.= A plane figure having four angles; a four-sided figure.

=Tetra-morph=, Chr. (Gr. τέσσαρα, four; μορφὴ, shape). The union of the four attributes of the Evangelists (the angel, eagle, lion, and ox), in one figure, e. g. as a woman crowned and seated on an animal which, with the body of a horse, has the four heads of the mystic creatures; and of the four feet one is human, one hoofed for the ox, one clawed like an eagle’s, and one like a lion’s; underneath is inscribed _Animal Ecclesiæ_.

=Tetra-style=, Gr. and R. (τετράστυλος). Having four columns. (See TEMPLUM.)

=Tetra-vela=, Lat. “The veils or curtains placed between the pillars which supported the canopy of the altar, at the sides and in front, and which were drawn round it when the priest was not officiating.” (_Fairholt._)

=Teutonic Order.= A military order of knights, established in the Holy Land about 1191. They first subdued and Christianized Prussia.

=Tewel=, Arch. (From the French _tuyau_.) A pipe or flue to convey smoke; it is mentioned by Chaucer:

“... Soche a smoke gan out wende
Blacke, blue and greenish, swartishe, rede,
As doith where that men melte lede,
Lo! all on hie from the _tewell_.”
(_House of Fame._)

=Textile=, R. (_texo_, to weave). Woven. Anything capable of being woven.

=Texture.= In Art, the _surface_ appearance of a representation not of textiles only, but of the other parts of a picture—wood, marble, skin, hair, &c. Gerard Dow excels in _texture_.

=Thalamifera=, Gr. A term applied, in describing ancient sculpture, to kneeling figures supporting tablets, on which figures of the gods or inscriptions are carved.

=Thalamus=, Gr. and R. (θάλαμος). The nuptial chamber in a Roman house; the others were called DORMITORIA.

=Thalysia=, Gr. (θαλύ-σια). Greek festivals of the harvest and vintage.

=Thargelia=, Gr. (θαργήλια). Very ancient festivals held at Athens on the occasion of a plague or other public disaster in honour of Apollo and Artemis; in which two persons, generally criminals, were put to death for the _purification_ of the city.

=Thaumaturgi=, Chr. (θαυματο-εργός). Workers of miracles.

=Theatrum=, =Theatre=, Gr. and R. (θέατρον, lit. a place for seeing). The construction of the ancient GREEK theatre was similar to that of modern theatres. The seats rose one behind and above the other in concentric half-circles, and the whole space enclosed was called _cavea_, the pit, being in most cases a real excavation from the rock. The central level space within and below the circles for spectators was covered with boards, upon which the _chorus_ danced and performed their part. This was the ORCHESTRA, the central point of which and of the plan of the whole building was the THYMELE, or altar of Dionysus. This altar became a _property_ of the piece, doing duty as a funeral monument, an altar, or a pulpit for the leader of the chorus or flute-player, according to the nature of the performance going on, in which it must be remembered that the part assigned to the _chorus_ in the orchestra below was quite as important as any other, and in its original intention was in fact the centre of interest, to which the performance on the stage was _accessory_. The whole theatre and orchestra were open to the sky. The cavea of the former accommodated about 50,000 spectators. The arrangements of the stage were elaborate and ingenious, and the art of _scene-painting_ developed at a very early period. The ROMAN theatre differed from the Greek principally in the absence of an _orchestra_, that space (the modern _pit_) being used for the seats of senators, foreign ambassadors, &c. Remains of ancient theatres still exist in Greece, Italy, and France. The most perfect of these are the Colosseum at Rome, and the amphitheatre at Nismes.

=Theca Calamaria=, Gr. and R. (θήκη; τίθημι, to put into). A portable inkstand.

=Thenard’s Blue.= (See COBALT.)

=Thensa.= (See TENSA.)

=Theo-gamia=, Gr. (θεο-γάμια). Greek festivals held in honour of Proserpine and commemorating her marriage with Pluto.

=Theorbo.= A stringed musical instrument; a kind of lute, having supplementary strings by the side of the finger-board.

=Thermæ=, Gr. and R. (θέρμαι, lit. hot-springs). Distinguished from _balneæ_. The luxurious establishments for bathing, gymnastics, and conversation which grew up under the Roman Empire, on which all the resources of architecture and decorative art were lavished. The ruins of the _thermæ_ of Titus, Caracalla, and Diocletian are still visible. They contained, besides the baths properly so called, “_exedræ_ for philosophers and rhetoricians to lecture in, _porticoes_ for the idle, and libraries for the learned, and were adorned with marbles and fountains, and shaded with walks and plantations.”

=Thermography.= A chemical process for copying prints and drawings upon paper or metal by the agency of _heat_ without light.

=Thermopolium=, R. (θερμο-πώλιον). A refreshment-room, in which warm drinks were sold, such as mulled wine, mead, &c.

=Thermulæ= (dimin. of _thermæ_). Baths on a small scale.

=Thesaurus=, Gr. A treasure-house. In the monuments of the heroic period many subterranean buildings of great extent and peculiar construction have been attributed to this purpose; but they may more probably have been sepulchral. In historical times the public treasures were in the _agoræ_ or the temples. (See ÆRARIUM.)

=Theseum.= An Athenian temple built in the 5th century B.C., to receive the bones of Theseus. It was richly ornamented with statuary and sculpture. The former has been destroyed; but some metopes and sculptured friezes in high relief remain, of which castings exist in the British Museum. Our illustration represents an incident of the “Battle of the gods and the giants,” and is remarkable for anatomical precision. In these sculptures Greek art has entirely emerged from the _archaic_ stage, and they were doubtless the inspiring models for Pheidias and his contemporaries, and the forerunners of the Parthenon sculptures. (See ELGIN MARBLES.)

=Thesmo-phoria.= Greek festivals of women and maidens in honour of Demeter, in commemoration of the traditions of civilized life. The solemnities opened with processions of women bearing on their heads the books of the sacred laws (ascribed to Demeter). On the second day, of fasting and mourning, the women remained all day grouped round the statue of Demeter in the temple, taking no other food than cakes of sesame and honey, and in the afternoon walked barefoot in procession behind a waggon on which baskets with mystical symbols were borne to the _thesmophorion_. On the third day they commemorated the smiles of Demeter, under the epithet of καλλιγένεια.

=Thibet Cloth.= A fabric of goat’s hair; called also _camlet_.

=Thick-pleached=, O. E. Thickly interwoven. (_Shakspeare._)

=Thieves’ Vinegar.= A kind of aromatic vinegar for a sick-room, consisting of the dried tops of rosemary, sage-leaves, lavender-flowers, and bruised cloves, steeped in acetic acid and boiling water. It derives its name and popularity from a story that thieves who plundered the dead bodies during the plague with perfect security, attributed their impunity to the use of this disinfectant. (_Simmonds’ Commercial Dictionary._)

=Thimbles= are said to have been found at Herculaneum. The manufacture was introduced into England, from Holland, about 1695.

=Thistle=, Her. The national badge of Scotland represented after its natural aspect and tinctured proper. The Order of the Thistle of Scotland was instituted a long time before the union of the two kingdoms (commemorated in the badge selected by James I. of the rose and thistle combined). (Fig. 293.) The badge or jewel is of gold enamelled, having a figure of St. Andrew holding his silver saltire and surrounded by rays, and an oval border with the motto. It is borne from the collar of the order formed of thistles alternating with bunches of rue sprigs, or on a dark green ribbon across the shoulder. The order of the _Ecu d’Or_, instituted by Louis of Bourbon (1410), had also a _thistle_ in the jewel and girdle.

=Tholus=, Gr. and R. (θόλος). A dome and cupola of a circular building.

=Thorax=, Gr. (θώραξ). (1) A breastplate; Latin LORICA (q.v.). (2) A bust of wax, marble, or bronze.

=Three-pile=, O. E. Rich velvet.

=Three-quarter.= A size of portrait; 30 inches by 25. (See PORTRAIT PAINTING.)

=Thrones=, Chr. An order of angels, usually represented with double wings, supporting the Throne of the Almighty in ethereal space.

=Through-stone= or =Throwstone=, O. E. (variously spelt, derived from Anglo-Saxon, _thruh_, a coffin.) A flat grave-stone. Parker gives in his “Glossary” the following quotation:—

“Over the midst of the said vault did lie a fair _throwstone_, and at
each either side of the stone it was open, through which were cast the
bones of the monks whose graves were opened for other monks to lie in;
which vault was made to be a charnel-house to put dead men’s bones
in.”

(_Ancient Rites of Durham._)

=Thurible=, Chr. An incense-burner. Generally of bronze. The practice of burning incense in religious functions is very ancient, and originated in the East. The illustration (Fig. 652) is a beautiful specimen of Arabian work devoted to this object.

=Thurles=, O. E. (holes through the wall). The small windows of a house; 12th century.

=Thyas= or =Thias=, Gr. A Bacchante, the Greek equivalent for the Latin BACCHA.

=Thymela=, =Thymelê=, Gr. (θυμέλη). (Literally, a place for sacrifice.) An altar placed in the orchestra of a Greek theatre and dedicated to Bacchus.

=Thyroma=, Gr. (θύρωμα). A synonym for the Latin JANUA (q.v.).

=Thyrsus=, R. (θύρσος). A long staff, surmounted with a fir-cone, or a bunch of vine-leaves or ivy, with grapes or berries, carried by Bacchus, and the satyrs, mænads, and others, during the celebration of religious rites. Beneath the garland or fir-cone the thyrsus ends in the sharp point of a spear, a puncture from which induces madness.

=Tiara=, Gr. (τιάρα). A hat with a tall high crown; the characteristic head-dress of the north-western Asiatics; especially the Armenians, Parthians, Medes, and Persians. _Tiara recta_ or cidaris was an upright tiara, the regal head-dress of Persia. _Tiara Phrygia_ was a synonym for MITRA. Fig. 653 represents the head-dress and costume of a Persian soldier.

=Tiara=, Chr. The Pope’s triple crown, emblematic of his authority in the three kingdoms of heaven, earth, and the lower world. (See Fig. 653.)

=Tibia=, R. (Greek, _aulos_). A pipe or flute of reed, bone, ivory, horn, or metal, perforated with holes for the notes like a flute; the principal varieties were:—the _monaulos_ or single pipe, including the bagpipe (_utricolarius_); the _diaulos_, or double pipe, bound round the cheeks with a bandage called by the Romans _capistrum_, and in Greek _phorbeia_; and the _syrinx_ or Pandæan pipe, of three to nine tubes.

=Tibia Curva=, R. A kind of flute curved at its broadest end.

=Tibia Dextra=, R. The right-hand pipe of the _diaulos_, usually constructed of the upper and thinner part of a reed.

=Tibia Gingrina=, R. A flute made of a long thin tube of reed with a mouth-hole at the side of one end.

=Tibia Ligula=, R. A flute resembling the modern flageolet.

=Tibia Longa=, R. A flute used especially in religious worship.

=Tibia Obliqua=, R. A flute having the mouthpiece at right angles to the tube.

=Tibia Sinistra=, R. The left-hand pipe of the _diaulos_, usually constructed of the lower and broader part of a reed.

=Tibia Utricolarius=, R. The ancient bagpipe.

=Tibia Vasca=, R. A flute having the mouthpiece at a right angle.

=Tibiæ Pares=, R. A name for the double flute when the tubes were exactly alike, _impares_ when they differed.

=Tie-beam=, Arch. The strong horizontal on which the king-post and other uprights rest, which support the beams of a roof.

=Tierce=, =Per Tierce=, Her. Divided into three equal parts.

=Tig=, O. E. A shallow drinking-bowl with four handles, made to pass round the table from hand to hand as a _loving cup_.

=Tiger-wood=, obtained from Guiana, is a valuable ornamental wood for cabinet-work.

=Tignum=, R. In a general sense wood used in carpentry, a beam or joist; in a more restricted sense, a tie-beam, rafters, brackets, &c.

=Tigrinæ.= Tiger-tables. Great importance was attached in Roman decorative art to the grain of the wood. Tables having “veins arranged in wavy lines,” were called Tigrinæ, from the resemblance of their pattern to that of a tiger’s skin. Those having “veins which formed spirals, or little whirlpools,” were called _pantherinæ_, or panther-tables.

=Tiles= for roofs are of two kinds:—plain tiles and pan tiles; they are mentioned in an ancient statute of King Edward IV. (1477), regulating the

“Fesure, whitying, et anelyng de tewle, appelez pleintile, autrement
nosmez thaktile, roftile, ou crestile, cornertile et guttertile fait
et affaire deinz cest Roialme.”

_Glazed_ or _encaustic tiles_ were anciently much used for paving sacred edifices. English designs are generally heraldic in character. In Spanish architecture tiles were used for the decoration of walls instead of hangings; and richly decorated pavements are found in Asia Minor and the East Indies. (Consult _Parker’s Glossary_, _J. G. Nichols_, _Examples of Tiles_, &c.)

=Tilt=, O. E. The word is properly applied to the exercises in training for the joust, against the QUINTAIN, the PEL, the ring, and other objects.

=Timbre=, Her. (1) Anciently, the _crest_; (2) Modern French, the _helm_, in a coat of arms.

=Timbrel.= An ancient _tambourine_, with a double row of gingles.

=Tin-glazed Wares.= (See POTTERY.)

=Tina=, R. A large vessel used for holding wine; its shape is unknown.

=Tinctures=, Her. The two metals and the five colours of heraldry.

=Tint= of colour = degree of intensity. In painting in oils this is lowered by the addition of a white pigment, in water-colours by dilution. “_Tint_ is any unbroken state of any colour, varying between the intensity of its parent colour and the purity of white.” (_J. B. Pyne, in the Art Union of 1844._) (See TONES.)

=Tint-tools.= In copper and wood-engraving, gravers used for skies, still waters, architecture, &c. The word “tint” in engraving means colour, and skies are _tints_ cut horizontally.

=Tintinnabulatus=, R. Carrying a bell (_tintinnabulum_); a term applied especially to animals which carried a bell hung round their neck.

=Tintinnabulum=, R. (Gr. κώδων). A bell used as a hand-bell; they took very various forms in antiquity, hemispherical, pear-shaped, or cylindrical, and some were square. The Romans also made use of a kind of swinging gong similar to that shown in Figs. 654 and 655, of a specimen discovered at Pompeii, and now in the Naples museum.

=Tintinnabulum=, O. E. A musical instrument made of a set of bells, arranged in order within a frame.

=Tints.= (See TONE.)

=Tiraz=, Arab. The ancient name of the apartment in an Arab palace set apart for weaving; also of the rich silken stuffs woven there.

=Tire Valiant= or =Volant=, O. E. A kind of head-dress. (_Shakspeare._)

=Titulus=, R. (1) The title or INDEX of a book. (2) A notice in front of a house to be let or sold. (3) An epitaph or other inscription on monuments. (4) A large board mounted on a spear and inscribed with the numbers of the prisoners, cities, and standards that had been captured from the enemy; carried in a TRIUMPH or OVATION.

=Tobine.= A stout twilled silk.

=Toga=, R. (_tego_, to cover). The principal outer garment of a Roman, as the PALLIUM (q.v.) was the national dress of the Greek. Among the different kinds of toga were the _toga restricta_, _toga fusa_, _toga prætexta_, _toga pura_ or _virilis_, _toga palmata_, _toga picturata_, &c. The colour of the toga was ordinarily white. _Candidates_ (from _candidus_, white) were so called from their whitening their togas with chalk; the _toga pulla_, of the natural colour of black wool, was worn in mourning; the _toga picta_, or embroidered toga, was for generals on their triumphs. (See also PRÆTEXTA, TRABEA, &c.) The illustration (Fig. 656) represents the statue of a Roman senator of the Augustan age.

=Togatus=, R. Wearing the _toga_; essentially the Roman costume, opposed to _palliatus_, a man in the Greek dress.

=Togula=, R. (dimin. of _toga_). (1) A toga of a fine texture; or (2) the short and threadbare toga of coarse texture, worn by a poor man, who then went by the name of _togatulus_.

=Toilinet.= A textile of silk or cotton warp, with woollen weft.

=Toise.= In French lineal measurement = 76 inches.

=Toison d’Or=, Her. The Golden Fleece. A French order of knighthood, instituted by Philip the Good in 1429. The order has a king at arms called Toison d’Or. The collar is composed of flint-stones, alternately with double _fusils_ placed two and two together, forming double B’s. From this suspends a Golden Fleece. The motto is, “Pretium non vile laborum.” (See FUSIL.)

=Tokens.= Small coins issued by tradesmen for current money. (Consult _W. Boyne’s Tokens_, &c.)

=Tolleno=, R. (_tollo_, to lift). (1) A contrivance for drawing water from a well, made of a strong cross-bar poised from the top of an upright beam, with a weight at one end and a rope and bucket at the other. (2) A similar apparatus was used in siege operations to lift soldiers up to a wall.

=Tom-tom.= Oriental small drum, of a barrel form, covered at each end with skin, carried obliquely, and beaten with one hand at each end.

=Tomb.= From the earliest ages tombs similar in general design to those of modern times have been used to mark the resting-places of the dead. Fig. 657 represents an ancient monument in Lycia. (See STELA, SHRINE.)

=Tombac.= Red brass; the white tombac is an alloy of copper and zinc, containing not more than 20 per cent. of zinc.

=Tompion.= The plug to the mouth of a cannon.

=Tondi=, It. A name given to a series of twelve circular medallions, painted by Luca della Robbia, with impersonations of the twelve months.

=Tondino=, It. A name given to small plates or dishes, which it was a mediæval fashion for the gallants to present, filled with confectioneries, to ladies. They are described as small, with a wide flat brim and sunk centre; in this, the central medallion generally occupied by a figure of Cupid, hearts tied by ribbons or pierced with arrows, or by joined hands, and similar amatory devices, or with a shield of arms and initial letters, &c.

=Tones= are the modifications which a colour, in its greatest intensity, is capable of receiving from _white_, which _lowers_ its tone, or _black_ which _heightens_ it. A _scale_ is an assemblage of tones of the same colour, thus modified. The pure colour is the _normal tone_ of the scale. _Hues_ are the modifications which a colour receives from the addition of a small quantity of another colour. (_Chevreuil on Colour_, pp. 34, 35.)

=Tonometer.= A delicate instrument for tuning musical instruments, by marking the number of vibrations.

=Tonstrina=, R. A barber’s shop; frequented only by the middle classes; the rich were shaved at their houses; and the poor allowed their beards and hair to grow.

=Tonsure=, Chr. The clerical crown, adopted, it is said, in imitation of St. Peter, or of the Crown of Thorns, was disapproved of in the 4th century as pertaining only to penitents; and not made essential till the end of the 5th or beginning of the 6th centuries.

=Tontisse=, Fr. Flock-paper; paper-hangings ornamented with flock-wool.

=Tooth-Ornament=, Arch. A name of the NAILHEAD moulding. It is the peculiar distinction of the Early English style, to which it is nearly, if not exclusively, confined. It is the regular progression from the Norman _zigzag_ to the delicate _quatrefoil_ of the DECORATED ENGLISH. It resembles a succession of low, square, pierced pyramids set on the edges of a hollow moulding.

=Toothing=, Arch. Projecting bricks left at the end of a wall, to form a _union_ with any further buildings.

=Topaz.= There are two varieties of this gem; the Brazilian yellow, which is the best known, and the Oriental.

=Topaz=, Her. In blazoning arms of nobles, the names of _gems_ were sometimes substituted for _tinctures_; the topaz for gold (OR).

=Topes=, Hind. Buddhist sepulchral monuments, cone-shaped, and round at the tops, like the _dagobs_ of Ava and Ceylon.

=Topiaria= (Ars), R. Artificial training of shrubs and trees into fantastic shapes. Painted representations of landscapes on the walls of houses were called TOPIA. (See HORTUS.)

=Topiarius=, R. A gardener skilled in the ARS TOPIARIA (q.v.).

=Torale=, R. (_torus_, a couch). The hanging valance of a couch.

=Torch=, R. The emblem of marriage, from the custom of forming wedding processions in the evening by torch-light. Upright, the torch was the emblem of rejoicing; reversed, of death or sleep; hence its application upon funereal monuments.

=Torcular=, =Torculum=, R. A wine or oil-press. Hence—

=Torcularium=, R. The press-room.

=Toreador=, Sp. A bull-fighter.

=Toreuma=, Gr. and R. (τόρευμα). _Carving upon ivory_ executed on the lathe.

=Toreutic Art= (from τορεύω, to bore through; _or_ from τορός, clear, distinct). Sculpture; especially of metals, ivories, metallic castings in relief, &c. A long essay on the meaning of this word occurs in the works of De Quincy.

=Tormentum=, R. (1) (_Torqueo_, to twist.) A general term for such instruments as the _balista_, _catapulta_, _onager_, _scorpio_, &c., from the twisting of the strands of the ropes that were used as the string to the bow. (2) Torture. By the Greek law the evidence of slaves was _always_ extracted by torture. In Rome free persons _in humble circumstances_ were also subjected to it in cases of treason.

=Tornus=, Gr. and R. A lathe or potter’s wheel.

=Torquatus=, R. Wearing the Gallic TORQUE. _Torquatus miles_, a soldier who received such a collar as a reward, and wore it, not round the neck, but on the breast, like a decoration.

=Torques=, Gen. (_torqueo_, to twist). A necklace, or armlet, or collar of gold or other wire spirally twisted. (See ARMILLA, MONILE, &c.)

=Torse=, Her. A crest-wreath. (See ORLE.)

=Torso=, It. In Sculpture, the trunk regarded apart from the head and limbs. The celebrated Torso of Hercules, in the Vatican, by Apollonios, about 336 B.C., is said to have been the favourite inspiration of Michael Angelo. Another fine torso is that known as the Farnese, in the Naples Museum, representing probably a seated figure of Bacchus.

=Torteau=, Her. A red ROUNDLE (q.v.).

=Tortoise.= Among the Egyptians the tortoise was an emblem of darkness and of death. Fig. 129 is the remarkable device of Cosmo, Grand Duke of Tuscany, with the motto, “Hasten slowly,” i. e. have caution with energy.

=Tortoise-shell= is largely used for making combs, and for veneering on cabinet-work. When it is softened with hot water, it receives impressions which become permanent if it is suddenly cooled. The plates used are those found on the back of the sea-turtle (_chelone imbricata_). Five large plates are obtained from the middle of the carapace or upper buckler, and four large ones from the sides, called “blades,” and twenty-five smaller plates from the edges, called “feet or noses.” The belly shells are of a yellow colour, and are used for the purposes of horn.

=Torus=, R. Anything swelling like the strand of a rope. A bed covered with sheets or blankets (_toralia_).

=Torus=, Arch. A convex moulding used in architectural decoration (Fig. 659) at all periods and by all nations.

=Touchstone= is a kind of black jasper, known as _Lydian stone_, used for testing gold. This is done with _touching_-needles tipped with metal in various states of alloy, and the streaks that they make on the touchstone determine the fineness of the gold. In Architecture, certain black marbles were anciently so called, from their supposed identity with the _lapis Lydius_.

=Tough=, Turkish. A Turkish standard; a _horse-tail_ attached to the upper part of a pike which ends in a crescent and ball.

=Tourelle=, Fr. A small tower on a castle, with a winding staircase.

=Towers.= (See ROUND TOWERS.)

=Trabea=, R. (lit. shaped like a _trabs_ or beam). A rich toga, either made entirely of purple cloth or decorated with horizontal stripes of that colour. The purple toga was an attribute of the _gods_, and afterwards of the _emperors_; purple and white, or purple and saffron, of augurs; purple and white, of _royalty_ (kings).

=Trabs=, R. A beam; especially a long beam supporting the joists of a ceiling.

=Tracery.= In architecture or decorative work, geometrical ornament, such as is inserted on the upper parts of Gothic windows, in Alhambraic architecture, &c.

=Tracing-paper= is made of tissue-paper soaked in oil or thin varnish.

=Trajan Column=, in Rome, the work of Apollodorus, A. D. 114, is 10½ feet in diameter, and 127 feet high, made of 34 blocks of white marble—23 in the shaft, 9 in the base, which is finely sculptured, and 2 in the capital and torus. The sculptures show about 2500 figures besides the horses, and represent the battles and sieges of the Dacian War. The column is a perfect _handbook_ of the military costume of Rome and other countries of its period. (Consult the work of _Alfonso G. Hispano_, published at Rome, 1586, which contains 130 plates representing all the sculptures; or the more modern work of _Pietro Santo Bartoli_, which contains beautiful engravings of all the reliefs.) A plaster cast of the column in two pieces is in the South Kensington Museum, with a handbook by J. H. Pollen on a desk near its base, with the aid of which it can be perfectly studied at leisure.

=Trama=, Sp. The weft or woof; a kind of silk thread so called.

=Transenna=, R. and Chr. A snare for birds. It consisted of a net stretched over a circular framework. In Christian archæology, the name was given to a marble lattice placed in the catacomb chapels to protect the relics.

=Transept=, Arch. A transverse nave, passing in front of the choir, and crossing the longitudinal or central nave of a church. It is sometimes called the _cross_, and each of its parts to the right and left of the nave are called _cross-aisles_.

=Transfluent=, Her. Flowing through.

=Transition Periods= of Architecture. Generally speaking, all periods deserve this title, as the progressive change of the styles is continuous. Those with more precision so described are, in English Architecture, three:—from the NORMAN to the EARLY ENGLISH; and then to the DECORATED; and thirdly to the PERPENDICULAR, styles.

=Transmuted=, Her. Counter-changed.

=Transom=, Arch. The horizontal cross-bar in a window.

=Transposed=, Her. Reversed.

=Transtrum=, R. (_trans_, across). In a general sense a horizontal beam. In the plural, _transtra_, the cross-benches of a ship occupied by the rowers.

=Trapeso=, It. A weight for gold and silver; the twentieth part of an ounce.

=Trapetum=, R. A mill for crushing olives.

=Trapezophorum=, R. (τραπεζο-φόρον). A richly carved leg for side-boards or small tables; sometimes called DELPHICA (q.v.).

=Trasformati of Milan.= One of the Italian Academies who bore as a device a plane-tree, and the verse from Virgil, “_et steriles platani malos gessere valentes_,” “the barren planes have borne good fruit” (cut out of a wild olive-tree and grafted in).

=Travagliati.= One of the Italian literary academies, whose device was a sieve (_vaglio_) with the motto “_donec purum_” (until clean).

=Traversed=, Her. Facing to the _sinister_.

=Travertine=, =Travertino=, It. A compact kind of TUFA stone, used in architecture; part of St. Peter’s and the Colosseum of Rome are built of this stone. (See TUFA.) It is a stone of a white or yellowish tint, and was used by the ancient painters to give _body_ to lakes.

=Trebuchet=, Fr. Med. A mechanical contrivance for projecting stones and darts; a kind of enormous cross-bow or sling.

=Tredyl=, O. E. (See GRYSE.)

=Treflée=, Her. (See BOTONNÉE.)

=Trefoil=, Arch. An ornament of three foils peculiar to the Romano-Byzantine and pointed styles. This ornament occurs in bands or string-courses, and also forms _entablatured_ foliage. A synonym for it is _tiercefoil_. In Heraldry, a leaf of three conjoined foils generally borne _slipped_. (Fig. 660.)

=Trellis.= Open lattice-work.

=Trenchers= (Fr. _tranchoirs_). Originally thick _slices_ of bread on which the meat was served, instead of plates; 13th century.

=Trental=, O. E. Chr. for Trigintale. Thirty masses for the dead.

=Tresson=, Fr. A net for the hair, worn by ladies in the Middle Ages. (See CALANTICA.)

=Tressure=, Her. A variety of the ORLE, generally set round with _fleurs-de-lys_. A striking example is to be seen in the Royal Shield of Scotland, now displayed in the second quarter of the Royal Arms, blazoned as—_Or, within a double Tressure flory; counterflory, a lion rampant guardant_.

=Trevat.= A weaver’s cutting instrument for severing the pile-threads of velvet.

=Triangle=, Chr. An equilateral triangle is a symbol of the Holy Trinity, and therefore the motive, only second in frequency and importance to the CROSS, of the construction and decoration of Christian churches.

=Triangle.= A musical instrument of early occurrence, producing sound by the striking of a metal triangle with a metal rod.

=Triblet.= A goldsmith’s tool used in making rings.

=Tribometer.= An instrument for estimating the friction of different metals.

=Tribon=, Gr. and R. (τρίβων). Literally, worn threadbare; and thence a coarse and common sort of mantle worn by the Spartans or by Romans who affected Spartan manners.

=Tribula= or =Tribulum=, R. (_tero_, to rub). An apparatus for threshing corn; consisting of a heavy platform armed with iron teeth or sharp flints.

=Tribulus=, R. (τρί-βολος, three-pointed). A CALTRAP (q.v.).

=Tribunal=, R. A raised platform for the curule chairs of the magistrates in the Basilica.

=Tribune=, R. and Chr. The semicircular recess in a Latin basilica in which the chief magistrate had his raised seat and administered justice. In Christian archæology, a gallery in a church; the _triforium_ and the organ-loft are tribunes. In Italian, _tribuna_, a picture-gallery.

=Tricerion=, Chr. (τρὶς, thrice; κέρας, a horn). A candlestick with three branches, symbolizing the Holy Trinity. (See DICERION.)

=Tricked=, Her. Sketched with pen and ink in outline.

=Triclinium=, Gr. R. and Chr. (τρι-κλίνιον). A set of three dining-couches arranged round a table, and thence the dining-room itself, especially the summer dining-room. In Christian archæology the _triclinium_ was an apartment attached to a Christian basilica, in which pilgrims were entertained.

=Tricolor.= The French national standard—red, white, and blue—introduced at the period of the revolution of 1789.

=Tricomos=, Gr. and R. A song for the third course of a banquet (κῶμος) at the festivals of Bacchus. The _comus_ was peculiar to the first, and the _tetracomos_ to the fourth course.

=Tricot=, Fr. (1) Silk net. (2) A knitted cotton fabric.

=Trident=, R. A three-pronged fork, the attribute of Neptune, used (1) for spearing fish; (2) by the class of gladiators called RETIARII; (3) as a goad for horses and cattle.

=Triens=, R. A small copper coin current among the Romans; it was worth the third of an as, or about one farthing. It bore on the obverse a ship’s prow or a horse’s head, and four balls indicating four ounces (_unciæ_).

=Trieterides=, Gr. (τρι-ετηρίδες). Festivals of Bacchus, held in Bœotia every third year.

=Triforium=, Chr. A gallery over the side aisles of a church, open to the nave in arcades of three arches (_tres fores_).

=Triga=, R. A car drawn by three horses yoked either abreast or with one in front.

=Trigarium=, R. A field for the exercise of _trigæ_ and other chariots.

=Triglyph=, Arch. (τρίγλυφος). An ornament consisting of three flutings or upright groovings separating the metopes in a Doric frieze. (Fig. 458.)

=Trigonalis=, R. Three-cornered “catch-ball;” a subject on frescoes.

=Trigonum=, Gr. and R. (τρίγωνον). (1) A mosaic of triangular pieces of marble, glass, terra-cotta, or other material (_sectilia_). Fig. 662 is from a pavement at the entrance of a house at Pompeii. (2) A musical stringed instrument; a triangular lyre, probably derived from Egypt.

=Trilith=, Celt. (τρί-λιθος). A Celtic monument of three stones forming a kind of door.

=Trilix=, R. In weaving, triple thread. (Compare BILIX.)

=Trilobate=, Arch. Presenting three foils.

=Trimodia=, R. A basket or vessel made to contain three modii (_tres modii_).

=Trinity=, Chr. For a detailed account of the progressive series of representations in Art of the Holy Trinity, consult _Fairholt’s Dictionary_, _Didron’s Iconographie Chrétienne_, &c.

=Triobolum=, Gr. A Greek silver coin of the value of three oboli. It was the established fee payable to an Athenian _dikast_ for the hearing of a cause.

=Tripetia.= A Gallic term signifying a three-legged _stool_.

=Tripod= (Gr. τρί-πους). A vessel or table on three feet; esp. the slab at Delphi upon which the priestess of Apollo sat. (See DELPHICA, CORTINA.)

=Tripping=, Her. In easy motion, as a stag.

=Triptych= (τρί-πτυχος, three-fold). A form of picture, generally for ecclesiastical purposes, in three panels; a centre, and two hanging doors worked on both sides. (Fig. 664.)

=Tripudium=, R. The noise made by the grain as it fell from the beaks of the sacred chickens on to the ground; it was looked upon by the priest as a favourable omen; another name for it was _terripavium_ (striking the earth). (See AUSPICIUM.)

=Triquetra=, Arch. A symmetrical interlaced ornament of early northern monuments. An endless line forming three arcs symmetrically interlaced will describe the figure.

=Trireme=, R. (_tres_, and _remus_, oar). A galley with three banks of rowers.

=Trisomus=, Chr. (τρί-σωμος). A triple sarcophagus. (Cf. BISOMUS.)

=Trispastus=, R. (τρί-σπαστος, drawn three-fold). A block for raising weights; of three pullies (_orbiculi_), set in a single block (_trochlea_).

=Triton.= A sea-monster; generally represented as blowing a shell (_murex_), and with a body above the waist like that of a man, and below like a dolphin.

=Triumphal Arch.= A monumental structure, usually a portico with one or more arches, erected across a public road for a triumphal procession to pass under.

=Triumphalia=, R. Insignia conferred upon a general on the occasion of a triumph; consisting of a richly embroidered toga and tunic, a sceptre, a chaplet of laurel leaves with a crown of gold, and a chariot.

=Triumphalis= (Via), R. The road traversed by a triumph.

=Triumphus=, =Triumph=, R. The pageant of the entry of a victorious general into Rome.

=Trivet=, Her. A circular or triangular iron frame with three feet, borne by the family of Tryvett.

=Trivium=, R. (_tres_, and _via_, a way). A place where three roads meet.

=Trochilus=, Arch. A concave moulding in classic architecture. (See SCOTIA.)

=Trochlea=, R. (τροχιλέα). A machine for raising weights, very similar to the TRISPASTOS.

=Trochus= (τροχὸς, a wheel). A hoop represented on ancient gems as driven by naked boys with a crooked stick, precisely in the existing school fashion. It was of bronze, often with rings attached.

=Trombone.= A large trumpet with an arrangement of sliding tubes for modulating the tones by which every gradation of sound within its compass can be exactly produced.

=Trophy=, Gr. (τρόπαιον). A monument of victory (τροπή). Fig. 665 represents a trophy of Gallic spoils, from a bas-relief on the triumphal arch at Orange.

=Trotcosie=, Scotch. A warm covering for the head, neck, and breast, worn by travellers.

=Trua=, dim. =Trulla=, R. (1) A large flat ladle or spoon perforated with holes and used for skimming liquids when boiling. (2) A kind of drinking-cup. (3) A portable brazier or earthenware vessel perforated with holes (Fig. 666) for carrying hot coals about. (4) A mason’s trowel.

=Trullissatio=, R. A coating of plaster or cement laid on by the trowel (_trulla_).

=Trumeau=, Fr. A pier looking-glass.

=Trumpet=, Her. The Roman _tuba_; a long straight tube expanded at its extremity.

=Truncated.= With the top cut off parallel to the base.

=Trunnions.= The side supports on which a cannon rests on its carriage.

=Truss=, Arch. The system of timbers mutually supporting each other and the roof.

=Trussed=, Her. Said of birds, with closed wings.

=Trussing=, Her. Said of birds of prey, devouring.

=Tuba=, R. A straight bronze trumpet with a small mouthpiece at one end, the other being wide and bell-shaped. (Cf. CORNU.)

=Tubilustrum=, =Quinquatrus=, R. Festivals held at Rome twice a year, for the purification of trumpets (_tubæ_).

=Tubla.= Assyrian drums, with skin at the top only.

=Tuck=, O. E. A short sword or dagger, worn in the 16th and 17th centuries by all classes.

=Tucket=, O. E. (It. _toccata_). A flourish on a trumpet.

=Tudesco=, Sp. A wide cloak.

=Tudor Arch=, Arch. An arch of four centres, flat for its span; having two of its centres in or near the spring, and the other two far below it. (_Rickman._)

=Tudor Flower=, Arch. An ornament common to Elizabethan buildings. A flat flower, or leaf, as a crest or finish on cornices, &c.

=Tudor Rose=, formed by the union of the white and red roses of York and Lancaster; is described in heraldry as a white rose charged upon a red one. (See Fig. 395.)

=Tudor Style=, Arch. The style which prevailed under the Tudor dynasty. The term is loosely applied to various periods. (See PERPENDICULAR.)

=Tufa.= A porous variety of limestone deposited by calcareous water. It hardens on exposure to the air; and was much used by the Romans for facing buildings, and generally, on account of its lightness, for vaulting. (See TRAVERTINE.)

=Tugurium=, R. (_tego_, to cover). A thatched roof, and thence, a peasant’s hut.

=Tulip-tree.= The wood of this tree is smooth and fine-grained, very easily wrought, and not liable to split. It is largely used in carving and ornamental work, and for panels in coach building.

=Tulle=. A plain silk lace, blonde or net.

=Tumblers.= The drinking-glasses so called take their name from their original shape, rounded at the bottom, so that they _tumbled_ over unless they were very carefully set down. Similar goblets are still made of wood in Germany; often with the inscription—

“Trink’ mich aus, und leg’ mich nieder:
Steh’ ich auf, so füll’ mich wieder.”

=Tumulus= (_tumeo_, to swell). Sepulchral mounds of ancient and prehistoric construction. The illustrations, figs. 668 and 669, show the plan and section of a Gallic tumulus opened at Fontenay le Marmion.

=Tumulus Honorarius.= (See CENOTAPHIUM.)

=Tunbridge Ware.= Inlaid-work of variously-coloured woods made at Tunbridge Wells in Kent.