I.

=Ich Dien.= I serve. The popular belief that Edward the Black Prince adopted this motto and the “Prince of Wales’s feathers,” at the battle of Cressy, from the blind King of Bohemia, is not sustained by investigation. It was at the battle of Poitiers that he first adopted this crest, joining to the family badge the old English word _Ic den_ (Theyn), “I serve,” in accordance with the words of the Apostle, “The heir, while he is a child, differeth nothing from a servant.” (_Mrs. Palliser_; _Historic Devices_.)

=Ichnography.= The art of making maps or plans.

=Iconic= (sc. _statues_), Gr. and R. (εἰκονικὰ, i. e.) Portrait-statues; especially statues raised in honour of athletes who had been victorious in the contests.

=Iconoclasts=, Chr. Image-breakers. The name originated in the 8th or 9th century in the Eastern Empire, from which finally Theophilus banished all the painters and statuaries in 832. It has been since generally applied to those who, at various outbreaks of fanaticism, have destroyed ecclesiastical objects of art, and is especially applicable to the disciples of Savonarola in 1497, and to the Puritans of Scotland and England during the civil wars.

=Iconography= (i. e. image-description). The science that deals with statues and images, bas-reliefs, busts, medals, &c. Thus we have an Egyptian, Greek, Roman, mediæval iconography, &c. The best work on this science is “Christian Iconography; or the History of Christian Art in the Middle Ages,” by M. Didron. The second volume contains a manual on the subject by a painter of the 12th century.

=Iconostasis=, Chr. The screen of the chancel in ancient churches, so called because it was there that images (εἰκόνες) were displayed for the adoration of the faithful.

=Ideal= and =Real.= “Any work of art which represents, not a material object, but the mental conception of a material object, is in the primary sense of the word _ideal_; that is to say, it represents an _idea_, not a _thing_. Any work of art which represents or realizes a material object is, in the primary sense of the term, _un-ideal_.” (_Modern Painters_, vol. ii. chap. 13.) In a practical sense an _ideal_ picture or statue (e. g. the Medici Venus) is not the portrait of an individual model, but the putting together of selected parts from several models. Raphael said, “To paint a beautiful woman I must see several, and I have also recourse to a certain _ideal_ in my mind;” and Guido said, “The beautiful and pure _idea_ must be in the mind, and then it is no matter what the model is.”

=Ides=, =Idus=, R. One of the monthly divisions in the Roman year; it fell on the 15th in months of thirty-one days, excepting January, August, and December; in months with only twenty-nine or thirty days, the _ides_ fell on the 13th. The _kalends_ are the first of every month; the _nones_ are the 7th of March, May, July, and October, and the 5th of all the other months; and the ides always fall eight days later than the nones; and the days are reckoned backwards: thus the 13th of January is the ides of January, and the 14th of January the 19th day _ante diem_ (or before) the February kalends. The morrow of the ides was looked upon as an unlucky day (_nefas_).

=Illapa=, Peruv. One of the divisions of the temple of the Sun (_Inti_) among the ancient Peruvians, so called because it was dedicated to the thunder (_Illapa_). (See INTI.)

=Illumination.= This art originated simply in the application of _minium_ (or red lead) as a colour or ink, to decorate a portion of a piece of writing, the general text of which was in black ink. The term was retained long after the original red lead was superseded by the more brilliant _cinnabar_, or vermilion. Ornaments of all kinds were gradually added, and the term includes the practice of every kind of ornamental or ornamented writing. From the 3rd century Greek and Roman specimens exist of golden lettering upon purple or rose-coloured vellum, and the art prevailed wherever monasteries were founded. Anglo-Saxon and Irish MSS. of the 6th and 7th centuries exhibit a marvellous perfection, characterized by wonderfully minute interlacements of the patterns. Nearly all the best specimens of illumination were destroyed on the dissolution of monasteries. (Consult “_The Art of Illuminating_,” _by W. R. Timms_.)

=Imagines a vestir=, It. Wooden images set up in Italian churches, with the heads and extremities finished, and the bodies covered with real drapery.

=Imagines Majorum=, R. Portraits of ancestors, or family portraits; they usually consisted of waxen masks, which were kept in the cases of an _armarium_ or in an _ædicula_; or small statues which were carried before the corpse in a funeral procession.

=Imbrex=, R. A ridge-tile of semi-cylindrical form, and thus distinct from the _tegula_, which was a flat tile. It was called _imbrex_ from its collecting the rain (_imber_). _Imbrex supinus_ was the name given to a channel or gutter formed of ridge-tiles laid on their backs.

=Imbrications.= Architectural ornaments which take the form of fishes’ scales, or of segmental ridge-tiles (_imbrices_) which overlap; whence the name given to them.

=Imbricatus=, R. Covered with flat and ridge-tiles (_tegulæ_ and _imbrices_).

=Imbrothered=, O. E. Embroidered.

=Imbrued=, Her. Stained with blood.

=Immissarium=, R. (_immitto_, to send into). A stone basin or trough; any receptacle built upon the ground for the purpose of containing water supplied from the _castellum_.

[Illustration: Fig. 395. Device of Philip and Mary. Arms of Tudor and Aragon Impaled (_Rayonnant_).]

=Impale=, Her. To conjoin two separate coats of arms on one shield (as a husband’s and wife’s, &c.). The device of Queen Mary (Fig. 395) is the _impalement_ of the double Tudor rose with the arms of Catherine of Aragon.

=Impannata=, It. Oiled paper.

=Impasto=, It. The thickness of the body of pigment laid on to a painting. Rembrandt, Salvator Rosa, and others used a thick _impasto_; Raphael, Guido, and others, one extremely thin.

=Imperial.= Anything adapted by its excellence for royal uses, or distinguished in size, is generally so called. (1) O. E. A sort of precious silk, wrought partly with gold, used by royalty and for ecclesiastical purposes, brought to England from Greece in the 12th century. (2) The largest kind of slate for roofing. (3) Paper 27 inches by 23. (4) Sp. The roof of a coach; hence, in English, a trunk made to fit the top of a carriage. (5) Russian. A gold coin of 10 silver roubles.

=Impluviata=, R. A cloak of square shape and brown in colour, worn as a protection against rain.

=Impluvium=, R. (1) A cistern on the floor of the atrium in a Roman house, into which the rain was conducted. (2) The aperture in the roof of the atrium. (See DOMUS.)

=Impost=, Arch. The horizontal mouldings on a pillar, from which an arch is projected.

=In antis=, Arch. A name given to those temples, the pronaos or entrance porch of which was formed by two antæ or pilasters, and two columns. (See ANTÆ.)

=Inauguratio=, R. Generally the term applies to the ceremony by which the sanction of the gods was invoked upon any decree of man, such as the admission of a new member into a corporation or college, or the choice of the site of a theatre, city, or temple, &c.

=Inaures=, R. (_auris_, the ear; Gr. _enotion_). Ear-rings. Among the Greeks and Romans they were worn only by women. (See EAR-RINGS.)

=Incensed=, =Inflamed=, Her. On fire. (See FOCULUS.)

=Incisura=, R. (_incido_, to cut). Hatchings made by means of a brush.

=Incitega=, R. A kind of tripod or stand for vessels rounded or pointed at the bottom.

=Incle=, =Inkle=. A sort of tape used as a trimming to a dress.

=Incrustation.= The word has a general signification, “a coat of one material applied to another.” Technically it should be applied to marble alone; thus a thin slab of marble is _incrusted_ upon a body of slate or stone, metals are DAMASCENED, fused pigments are ENAMEL, and woods are VENEERED.

=Incubones=, R. Genii who were supposed to guard treasure hidden under the earth.

=Incunabula.= (1) Swaddling clothes for infants. (2) Ancient specimens of printing are so called.

=Incus=, R. (_incudo_, to beat on). An anvil.

[Illustration: Fig. 396. Indented.]

=Indented=, Her. One of the dividing and border lines. It resembles the teeth of a saw.

[Illustration: Fig. 397. Printed Calico (Indian) illustrating the treatment of flowers.]

=Indian Art.= The study of the forms and principles of Indian Art is indispensable to an appreciation of the true principles of ornamental design in general. The excellence of Indian manufactures is due to the system of Guilds rigidly adhered to for ages, which has resulted in the production of a race of hereditary craftsmen unequalled for their skill and taste in execution and design. Their pottery is distinguished above all others for purity and simplicity of form, obvious fitness to purpose, and individual freedom of design. Its origin antedates the Institutes of Manu, and is lost in antiquity. Indian gold and metal work is supposed by Dr. Birdwood to owe its origin to Greek influence, but has acquired in its development a purely Oriental character. The Hindoos exhibit the greatest skill in the Oriental arts of damascening and enamelling, as well as in lacquer work and wood and ivory carving. All their designs are deeply symbolical, and closely interwoven with the primitive religious impulses of humanity. India was probably the first country in which the art of weaving was brought to perfection, and the fame of its cloudy gauzes and its gold and silver brocades is more ancient than the Code of Manu. The art is repeatedly mentioned in the Vedas. The purity of Indian Art is endangered in modern days by the introduction of machine-made goods and European design. (Consult _Dr. Birdwood’s Handbook of Indian Art_.)

=Indian Ink= or =Chinese Ink=. A black pigment for water-colour painting, made from oil and lamp-black, thickened with some vegetable gum, and scented with musk or camphor. Many cheap and poor imitations of it are made.

=Indian Ochre.= A red pigment. (See RED OCHRES.)

=Indian Paper.= A delicate yellowish paper used for proof impressions in engraving. A Japanese paper of a similar quality is now frequently used.

=Indian Red= or =Persian Red=. A purple earth commonly sold under this name is the peroxide of iron. It is of a deep hue, opaque and permanent, and useful both in oil and water-colour painting; mixed with white it forms valuable flesh-tints. (_Fairholt._) (See OCHRE, AMATITA.)

=Indian Rubber=, =Caoutchouc=. An elastic gum; the sap of the _Siphonia elastica_, and several of the fig tribe in India and South America. It was brought into use early in the 18th century. In its natural state it is of a pale yellow brown.

=Indian Yellow.= A golden yellow pigment and dye, said to be procured from the urine of the cow, or else from camel’s dung. It is used in water-colour painting, but is not usually permanent. In some parts of the East it is called PURREE.

=Indigetes= (sc. _Di_), R. Indigenous gods. Heroes who were deified and worshipped as protectors of a place. The term is derived from _inde_ and _genitus_, meaning born in that place. Æneas, Faunus, Romulus, &c., were indigenous gods.

=Indigo.= A deep blue pigment prepared from the leaves and branches of a small shrub; it is transparent, tolerably permanent, and mixes well with other pigments, forming excellent greens and purples. A deep brown, known as _indigo brown_ and a deep red resin, known as _indigo red_, may be extracted by purifying the blue colour obtained from this dye. The old blue dye of the aboriginal Britons was produced from _woad_ (isatis tinctoria). (_Fairholt._) (See INTENSE BLUE.)

=Inescutcheon=, Her. An heraldic shield borne as a charge.

=Inferiæ=, R. Sacrifices or offerings made at the tombs of the dead.

=Infiammati.= A literary society of Padua in Italy. Device: Hercules upon the funeral pile on Mount Œta. Motto: “_Arso il mortal al ciel n’ andrà l’ eterno_.”

=Infocati.= One of the Italian literary societies. Device: a bar of hot iron on an anvil, beaten by two hammers. Motto: “_In quascunque formas_.”

=In Foliage=, Her. Bearing leaves.

=Infrenatus= (sc. _eques_), R. A horseman who rides without a bridle (_frenum_), controlling his horse solely by the voice or the pressure of the knees upon its side. (Fig. 282.)

=Infula=, R. A flock of red and white wool worn by priestesses and vestals and other Romans on festive or solemn occasions. In sacrificing also an infula was tied with a white band (_vitta_) upon the victim. Hence—

=Infulæ=, Chr. Ribands hanging from a bishop’s mitre.

=In Glory=, =In Splendour=, Her. The sun irradiated.

=Inlaying.= Inserting ornaments in wood-work for decorative furniture. (See BOULE, MARQUETRY.)

=In Lure=, Her. Wings conjoined, with their tips drooping.

=Inoa.= Greek festivals in honour of Ino, esp. on the Corinthian Isthmus; they consisted of contests and sacrifices. (See MATRALIA.)

=In Pretence=, Her. Placed upon, and in front of.

[Illustration: Fig. 398. Peacock in pride.]

=In Pride=, Her. Having the tail displayed, as a peacock’s. The illustration is the device of Joan of Castile: “A peacock, in his pride, upon the terrestrial globe.” (Fig. 398.)

=Insensati of Perugia.= One of the Italian literary academies. Their device was a flock of cranes, arranged in order, flying across the sea, each with a stone in its foot and sand in its mouth. Mottoes, “_Vel cum pondere_” (even with this weight), or “_Iter tutissimum_,” in allusion to Pliny’s statement that the cranes used stones and sand for _ballast_, “wherewith they fly more steadily and endure the wind.”

=Insignia=, R. (_in_, and _signum_, a mark). Generally, any object which serves as a mark or ornament for distinguished persons; a ceremonial badge, a badge of office, &c. (See ENSIGNS.)

=Insubulum=, R. A weaver’s beam or roller, round which he rolled the cloth as it was made.

=Insula=, R. A house, or block of houses, having a free space all round them. [Under the emperors the word _domus_ meant any house, detached or otherwise, where a family lived; and _insula_ meant a hired lodging.]

=Intaglio=, It. A stone in which the engraved subject is sunk beneath the surface, and thus distinguished from a cameo, which is engraved in relief.

=Intaglio-relievato= (It.), or _cavo-relievo_. Sunk-relief, in which the work is recessed within an outline, but still raised in flat relief, not projecting above the surface of the slab; as seen in the ancient Egyptian carvings.

=Intense Blue.= A preparation of indigo, very durable and transparent.

=Intense Madder Purple.= (See MADDER.)

=Intercolumniation=, Arch. The space between two columns. This space varies according to the orders of architecture and the taste of the architect. According as the space is greater or less between the columns of a temple, the latter is called _aerostyle_, _eustyle_, _systyle_, and _pycnostyle_. Generally speaking, in the monuments of antiquity, whatever be the intercolumniation adopted, the space comprised between the two columns which face the door of the building is wider than the intercolumniation at the sides.

=Intermetium=, R. The long barrier running down the arena of a circus between the two goals (_metæ_). (See META.)

=Intermodillions=, Arch. The space included between two modillions (projecting brackets in the Corinthian order). This space is regular, and often decorated with various ornaments. In the Romano-Byzantine and Renaissance styles, modillions are often united by arcades.

=Intertignium=, R. The space between the tie-beams (_tigna_) in the wood-work of a roof.

=Interula=, R. (_interior_, inner). An undertunic; a kind of flannel chemise worn by both men and women.

=Intestinum= (opus), R. (_intus_, within). The inner fittings or work of any kind in the inside of a house, and thence wood-work, JOINERY.

[Illustration: Fig. 399. Part of the Façade of the Peruvian temple Inti-huasi.]

=Inti= or =Punchau=, Peruv. The Sun or supreme god, inferior deities being called _conopa_ and _canopa_. The temple of the Sun was called _Inti-huasi_ (house of the Sun); it comprised seven principal divisions; the _inti_ or sanctuary, situated in the centre of the temple; the second division was called _mama-quilla_, from the fact of its being dedicated to the moon, which was thus named; the third was dedicated to the stars, called _cayllur_; the fourth to the thunder, and called _illapa_; the fifth to the rainbow, and called _ckuichi_; the sixth division was occupied by the chief priest (_huilacuma_); the seventh and last division formed the dwelling of the priests.

=Intronati of Siena.= One of the Italian literary academies. Their device was a gourd for containing salt, with the motto, “_Meliora latent_” (the better part is hidden).

=Iodine Scarlet= (_pure scarlet_). A pigment more brilliant than vermilion, very susceptible to metallic agency.

=Iodine Yellow.= A very bright yellow pigment, very liable to change.

[Illustration: Fig. 400. Ionic capital. From the Erechtheium, Athens.]

=Ionic=, Arch. One of the orders of Grecian architecture, distinguished principally by the ornaments of its CAPITAL, which are spiral and are called VOLUTES, four in number. The Ionic SHAFT is about nine diameters high, including the BASE (which is half a diameter) and the CAPITAL, to the bottom of the volute. The PEDESTAL is a little taller and more ornamented than the Doric. The BASES used are very various. The Attic base is very often used, and, with an _astragal_ added above the upper _torus_, makes a beautiful and appropriate base for the Ionic. The CORNICES are (1) plain Grecian, or (2) the _dentil_ cornice, or (3) the _modillon_ cornice. The Ionic shaft may be fluted in twenty-four semicircular flutes with fillets between them. The best Ionic example was the temple on the Ilissus at Athens. The temple of Fortuna Virilis at Rome is an inferior specimen. (See also Figs. 69, 184.)

=Irish Cloth=, white and red, in the reign of King John was much used in England.

=Iron.= _Indian red_, _Venetian red_, _Mars red_, _Mars orange_, _Mars yellow_ are all coloured by iron (see MARS), and are valuable for their great durability. (See METALLURGY.)

=Irradiated=, Her. Surrounded by rays of light.

=Iseia=, Gr. and R. (Ἴσεια). Festivals in honour of Isis. Among the Romans they degenerated into mere licentiousness, and were abolished by the senate.

=Iselastici Ludi=, Gr. and R. Athletic contests which gave the victor the right of returning to his native city in a chariot (εἰσελαύνειν); whence the name _iselastici_. These contests formed part of the four great games of Greece, viz. the Olympic, Pythian, Isthmian, and Nemean games.

[Illustration: Fig. 400 a. Isodomum opus.]

=Isodomos= or =Isodomum=, Gr. and R. (ἰσόδομος, i. e. equal course). A structure built in equal courses, that is, in such a way that the surface of each stone is of one uniform size, and that the joints of one layer are adjusted with those of another so as to correspond symmetrically.

=Isokephaleia= (Gr. ἴσος, equal; κεφαλὴ, head). A rule in Greek sculpture by which the heads of all the figures on a bas-relief were of the same height from the ground.

=Isometrical Perspective=, used for representing a bird’s-eye view of a place, combines the advantages of a ground-plan and elevation; only the lines of the base are made to converge, leaving the whole figure cubical, and without the expression of _distance_ from the point of sight.

=Ispahan Tiles=, of the period of Shah-Abbas—16th century—are remarkable for exquisite design.

=Italian Earth.= Burnt _Roman ochre_; resembles Venetian red in colour; and, mixed with white, yields valuable flesh-tints. (_Fairholt._)

=Italian Pink=, or _yellow lake_. A transparent bright-coloured pigment, liable to change. (See YELLOW LAKE, PINKS.)

=Italian Varnish.= A mixture of white wax and linseed oil, used as a vehicle in painting. It has good consistency, flows freely from the pencil, and is useful for glazing.

=Ivory Black.= A pigment prepared by heating ivory shavings in an iron cylinder; when from bone, it is called _bone black_ (q.v.). The real ivory black is a fine, transparent, deep-toned pigment, extremely valuable in oil and water-colour painting. The _bone black_ (commonly sold as _ivory black_) is much browner.

[Illustration: Fig. 401. Ivory carving. Sword-hilt of the 16th century.]

[Illustration: Fig. 402. Ivory carving. Spoon of the 16th century.]

=Ivory Carving.= This art, in considerable perfection, was known to prehistoric man at the period of the so called stone age. Egyptian and Assyrian specimens of the art are of a date at least as early as that of Moses. From the year 1000 B.C. down to the Christian era, there was a constant succession of artists in ivory in the western Asiatic countries, in Egypt, in Greece, and in Italy. From the time of Augustus, ivory carving shared in the general decline of art. Increasing in number as they come nearer to the Middle Ages, we can refer to carved ivories of every century, preserved in museums in England and abroad. The most important ivories up to the 7th century are the consular _diptychs_, originally a favourite form of presents from newly-appointed consuls to eminent persons; subsequently adapted to Christian uses, or as wedding presents, &c. In the Middle Ages, from the 8th to the 16th century, the use of ivory was adopted for general purposes. The favourite subjects of the carvings are those drawn from the romances of the Middle Ages—especially the romance of the Rose—and in the 15th century, scenes of domestic life, illustrating the dress, armour, and manners and customs of the day. Combs of every date, from the Roman and Anglo-Saxon period, and earlier, are found in British graves. In short, from the time when the first prehistoric carvings of antediluvian animals were made to the present, every age of human civilization appears to be more or less fully illustrated in carvings upon ivory and bone. (See also CHESSMEN.) The earliest material was found in the tusks of the mammoth: from Iceland we have beautiful carvings of the 7th century in the teeth of the walrus. Fossil tusks of the mammoth are found in great quantities in Siberia, and are almost the only material of the ivory-turner’s work in Russia. African and Asiatic elephant ivory are the best, and differ, the former, when newly cut, being of a mellow, warm, transparent tint. Asiatic ivory tends to become yellow by exposure. A fine specimen of carving in ivory is given in Fig. 403 from a MIRROR-CASE of the 15th century. (See also Fig. 185, and illustrations to PYX, TRIPTYCH, &c.)

[Illustration: Fig. 403. Ivory carving, 15th century.]

=Ivy=, Chr. The symbol of eternal life.

=Iwbwb=, Celt. The ancient military cry, which has given name to many places; as Cwm Iwbwb, in Wales, the Jujupania of Ptolemy. (_Meyrick._)

=Izeds=, Persian. Beneficent genii of the mythology of Zoroaster. Ormuzd, the supreme god, created twenty-eight of them to be the attendants of the _amchaspands_.

J.

=Jacinth.= A precious stone. (See HYACINTH.)

=Jack-boots= (O. E.) were introduced in the 17th century.

=Jackes=, O. E. (1) Towels. (2) The roller for a well-rope.

=Jacket= or =Jack=, =Jerkin=, &c., O. E.; worn over the doublet; but the names are applied indiscriminately to a great variety of such garments.

=Jacob’s Staff=, O. E. A pilgrim’s staff.

=Jacobus.= An English coin of James I., value 25_s._, weighing 6 dwt. 10 grains. The _Carolus_, a similar coin, value 23_s._, weighed 5 dwt. 20 grains.

=Jaculatores=, R. Soldiers armed with a javelin (_jaculum_), who formed part of the light troops of the Roman army.

=Jade.= Spanish _piedra de la yjada_. A green stone, closely resembling jasper, much used by prehistoric man, and to which supernatural virtues have in all ages been attributed, especially by the ancient Mexicans. Fine specimens of jades are carved in China, where they are of a whitish colour, and are called _Yu_. The clear white and green specimens are the most prized by collectors. (See NEPHRITE, SAUSSURITE.)

=Jagerant.= (See JAZERINE.)

=Jamb=, Arch. The side of any opening in a wall.

=Jambe=, =Gambe=, Her. The leg of a lion or other beast of prey.

=Jambes.= Armour for the legs; 14th century.

=Janua=, R. (_Janus_). The front door of a house opening on the street. The inner doors were called _ostia_, in the singular _ostium_, while the city gates were called _portæ_.

=Januales=, =Janualia=, R. Festivals held at Rome, in honour of Janus, on the first or kalends of January in each year; the offerings consisted of incense, fruits, and a cake called _janual_.

=Japanese Paper= of a creamy tint is frequently used for proof impressions of etchings, &c.

=Japanning.= A species of lac-varnishing, in imitation of the lacquered ware of Japan. (See LAC, LACQUER.)

=Jasper.= A kind of agate, the best known description of which is of a green colour. Many colours and varieties are used for gem-engraving, such as agate-jasper, striped jasper, Egyptian red and brown, and porcelain jasper. In the Christian religion the jasper symbolizes faith; its hardness expresses the firmness of faith; its opaqueness the impenetrability of the mysterious.

=Jasponyx.= An onyx mixed with jasper.

=Javelin.= A light hand-spear. (See HASTA.)

=Jayada.= (See VIMANA.)

=Jazel.= A precious stone of an azure blue colour.

=Jazerine= (It. _ghiazerino_). A jacket strengthened with overlapping plates of steel, covered with velvet or cloth, and sometimes ornamented with brass; 13th century.

=Jennet.= A Spanish or Barbary horse.

=Jerkin=, O. E. The jerkin was generally worn over the doublet; but occasionally the doublet was worn alone, and in many instances is confounded with the jerkin. Either had sleeves or not, as the wearer pleased.

“My jerkin is a doublet.” (_Shakspeare._)

=Jessant=, Her. Shooting forth, as plants growing out of the earth.

[Illustration: Fig. 404. Jessant-de-lys.]

=Jessant-de-lys=, Her. A combination of a lion’s face and a fleur-de-lys.

=Jesse=, O. E. A large branched chandelier.

=Jesse, Tree of=, Chr. An ornamental design common in early Christian art, representing the genealogy of our Lord in the persons of his ancestors in the flesh.

=Jesseraunt.= (See JAZERINE.)

[Illustration: Fig. 405. Hawk’s bells and Jesses.]

=Jesses.= Straps for hawk’s bells. (See Fig. 405.)

=Jet.= A variety of soft bituminous coal, admitting of a fine polish, which is used for ornaments. It is, in its natural state, soft and brittle, of a velvet-black colour, and lustrous. Ornaments of jet are found in ancient _tumuli_.

=Jet d’Eau=, Fr. A fountain. That at Chatsworth springs 267 feet in the air, and is the highest in existence.

=Jew’s Harp= or =Jew’s Trump= (from the French _jeu_ and _trompe_). A small musical instrument, known for centuries all over Europe, consisting of a metal frame with two branches, and a vibrating tongue of steel in the middle. It has suggested a number of modern instruments, including the HARMONIUM.

=Jew’s Pitch.= A kind of _asphaltum_ used as a brown pigment. It attracts dust, and never dries perfectly.

=Jewes Light=, O. E. (See _Judas Light_.)

=Jogues= or =Yugs=. In Hindoo chronology, eras or periods of years. (1) The _Suttee Yug_, or age of purity, lasted 3,200,000 years; the life of man being then 100,000 years, and his stature 21 cubits. (2) The _Tirtar Yug_, in which one-third of man was corrupted, lasted 2,400,000 years; the life of man being then 10,000 years. (3) The _Dwapaar Yug_, in which half the human race became depraved, lasted 1,600,000 years; the life of man being 1000 years. (4) The _Collee Yug_, in which all mankind are corrupt, is the present era, ordained to subsist 400,000 years (of which about 5000 have elapsed); the life of man being limited to 100 years. There are, however, conflicting accounts of the duration of the different _Jogues_. (See _Halhed’s Preface to the Gentoo Laws_.)

=Joinery= (in Latin, _intestinum opus_) has to deal with the addition in a building of all the fixed wood-work necessary for convenience or ornament. The most celebrated work on the subject is _Nicholson’s Carpenter’s Guide, and Carpenters and Joiner’s Assistant_, published in 1792. The _modern art_ of joinery properly dates from the introduction of the geometrical staircase, or stair supported by the wall only, the first English example of which is said to have been erected by Sir Christopher Wren in St. Paul’s. [See JOINERY in _Ency. Brit._ 8th ed.]

=Joseph=, O. E. A lady’s riding-habit, buttoned down the front.

=Jousting-helmets= were made wide and large, resting on the shoulders, and decorated with a crest. It was common to make them of comical, fantastic designs; such as weathercocks with the points of the compass, immense figures of birds and beasts, &c.

=Jousts= or =Justs=. Duels in the tilting-ground; generally with blunted spears, for a friendly trial of skill.

=Jousts à Outrance.= Jousts in which the combatants fought till death ensued.

=Jousts of Peace= (_hastiludia pacifica_; Fr. _joutes à plaisance_). These differed from real jousts or tournaments in the strength of the armour worn, and the weapons used. The lance was topped with a _coronel_ instead of a steel point; the sword was pointless and blunted, being often of whalebone covered with leather silvered over.

[Illustration: Fig. 406. Chinese vase decorated with signs of longevity.]

=Jouy= (wishes of good fortune). Chinese porcelain vases so called, used for birthday and other presents. In the vase represented on Fig. 406, the handles form the word expressive of the greeting above mentioned.

=Jowlopped=, Her. Having wattles and a comb, as a cock.

=Joys of the Virgin=, Chr. The seven joys and seven sorrows are frequently painted together in churches. The joys are, (1) The Annunciation. (2) The Visitation. (3) The Nativity. (4) The Adoration of the Three Kings. (5) The Presentation in the Temple. (6) The finding of Christ, by his mother, in the Temple. (7) The Assumption and Coronation of the Virgin. The seven sorrows are, (1) The prophecy of Simeon. (2) The Flight into Egypt. (3) The loss of the child in the Temple. (4) The Betrayal. (5) The Crucifixion. (6) The Deposition from the Cross. (7) The Ascension.

=Jubé= (Arch. Mod.). A structure of carved stone-work, separating the chancel from the choir in a church. From this position the daily lessons were chanted, preceded by the words “_Jube_, Domine, benedicere;” hence its name. In English it is called indifferently, the rood-loft, holy-loft, rood-screen, or jubé.

=Jubilee.= (1) Heb. (from _jobel_, a ram’s horn (trumpet); or from _jabal_, to recall). A Jewish festival celebrated every fifty years, when slaves were restored to liberty, and exiles recalled. (2) Chr. A commemoration ceremony at Rome, during which the Pope grants plenary indulgences; held at irregular intervals.

=Judas Light=, =Judas Candlestick=, =Jewes Light=, O. E. The wooden imitation of a candlestick which held the Paschal candle.

=Jugalis= (sc. _equus_). A horse harnessed to a yoke (_jugum_), instead of traces (_funalis_).

=Jugerum.= A Roman superficial measure, 240 feet by 120 feet. In the original assignment of landed property, two _jugera_ were allotted to each citizen, as heritable property.

=Jugum= (Gr. ζυγόν). (1) A yoke for draught cattle. (2) Metaphorically, subjugation—“_sub jugum mittere_” = to pass under the yoke, as nations conquered by the Romans were made to. This ceremonial yoke was constructed of a horizontal supported by two upright spears, at such a height that those passing under it had to stoop the head and shoulders. (3) In a general sense the word signifies that which joins two things together, a cross-beam, &c.

=Jugumentum.= Door-head, transverse beam on the uprights (_limen superius_).

=Jumps=, O. E. (1) A loose bodice for ladies.

“Now a shape in neat stays, now a slattern in jumps: Now high on French heels, now low in your pumps; Like the cock on the tower that shews you the weather, You are hardly the same for two days together.” (_Universal Magazine_, 1780.)

(2) A jacket or loose coat reaching to the thighs, buttoned down before, with sleeves to the wrist. A precisely similar lounging-coat, still in vogue at Cape Colony, is called a _jumper_.

=Junones.= Tutelary genii of women, as the _genii_ were of men. They are represented as females, clothed in drapery, having bats’ wings.

=Jupon=, Fr. Another name for a _pourpoint_, or close tunic, worn over the armour by knights in the Middle Ages. (See Fig. 463.)

=Juruparis= (Amer. Indian). A mysterious trumpet of the Indians, an object of great veneration. Women are never permitted to see it; if any does so, she is put to death by poison. No youths are allowed to see it until they have passed through an ordeal of initiatory fastings and scourgings. It is usually kept hidden in the bed of a stream, deep in the forest; and no one dares to drink of the water of that stream. It is brought out and blown at feasts. The inside of the instrument is a tube made of slips of the Paxiaba palm, wrapped round with long strips of bark. A specimen is preserved in the museum at Kew Gardens.

=Juvenalia=, R. Scenic games instituted by Nero in commemoration of his shaving his beard for the first time. They consisted of theatrical performances in a private theatre erected in a pleasure-ground (_nemus_). The name was afterwards given to the JANUALIA.

K.

_For Greek words not found under this initial, see C._

=Kalathos=, Gr. (κάλαθος). Literally, made of wicker-work. A drinking-cup, so called because it resembled the wicker-work basket of the Greek women. It was usually furnished with a ring, through which a finger might be put in order to lift it. The word is also written _calathos_.

=Kaleidoscope= (καλὸς, beautiful; εἶδος, a form; σκοπέω, to see). An optical instrument invented in 1814 by Sir David Brewster, which by means of mirrors inserted in it exhibits repetitions of objects placed within it, in certain symmetrical combinations. There are several different kinds, called _polycentral_, _tetrascopes_, _hexascopes_, _polyangular_, &c., according to their construction.

=Kang=, Hind. A bracelet or ring; _kang-doy_, a bracelet for the wrist or arm; _kang-cheung_, a bracelet or ring worn by the Khmers above the ankle.

=Kaolin.= The name first applied by the Chinese to the fine white porcelain earth derived from the decomposition of the feldspathic granites; used for fine pottery.

=Kayles= (Fr. _quilles_). Modern ninepins, represented in MSS. of the 14th century.

=Keep= of a castle. The DONJON (q.v.).

=Keeping= in a picture. Harmony and the proper subordination of parts.

=Kendal.= A kind of green woollen cloth or baize, first made at the town of Kendal, in Westmoreland; 16th century.

“Misbegotten knaves in _Kendal green_.” (_Shakspeare._)

=Kerchief of Pleasaunce.= An embroidered cloth worn by a knight for the sake of a lady, in his helmet, or, in later times, round his arm; which is the origin of crape being so worn for mourning.

“Moreore there is ykome into Enlond a knyght out of Spayne wyth a kercheff of plesunse i-wrapped about hys arme, the gwych knyght wyl renne a course wyth a sharpe spere for his sov’eyn lady sake.” (_Paston Letters_, vol. p. 6.)

=Kerchiefs= or =Coverchiefs= (_chief_ = the head), O. E. Head-cloths of fine linen worn by ladies.

=Kermes= (Arabic = little worm). An insect produced on the _Quercus coccifera_. The dead bodies of the female insect produce a fine scarlet dye stuff.

=Kern.= The Irish infantry were formerly so called.

=Kersey.= A coarse narrow woollen cloth; hence “Kersey-mere,” so called from the _mere_ (or miry brook) which runs through the village of Kersey in Suffolk, where this cloth was first made.

=Kettle-drum.= A drum with a body of brass.

[Illustration: Fig. 407. Kettle-hat.]

=Kettle-hat=, O. E. The iron hat of a knight of the Middle Ages; also the leather _burgonet_ of the 15th century.

=Kettle-pins=, O. E. (See KAYLES.)

=Key-note.= In Music, the foundation or lowest note of the scale. Whatever note this is, the _intervals_ between the third and fourth notes, and between the _seventh_ and _eighth_ above it, must be _semi-tones_.

=Key-stone=, Arch. The central stone of an arch.

=Keys.= In Christian art, the attribute of St. Peter, signifying his control over the entrances of Heaven and Hell; hence the insignia of the Papacy. They also denote, _in heraldry_, office in the State, such as that of chamberlain of the court.

=Khan=, Orient. The name used by Eastern nations to denote a caravanserai.

=Kher=, Egyp. The quarter of tombs; the whole number of burial-places or _hypogæa_ collected together at one spot.

[Illustration: Fig. 408. Khmer Architecture. Base of a pillar in a Temple of Cambodia, showing the god Brahma with four faces.]

=Khmers=, Hind. The ancient inhabitants of Cambodia, a territory in South-East Asia, who had attained a high stage of civilization, to judge by the artistic remains of the Khmer nation which survive.

=Khopesh=, Egyp. The dagger of the Egyptian kings; its curved blade bore some resemblance to the thigh of an ox, which was called in Egyptian _khopesh_ or _khopesk_.

=Kin-chung=, Chinese. A golden bell.

=King-fisher.= (See HALCYON.)

=King-post.= The central upright post supporting the gable of a roof.

=King’s Yellow.= (See ORPIMENT.)

=Kings of Arms.= Officers of Heralds’ College. There are three—_Garter_, _Clarenceux_, and _Norroy_.

=Kinnor=, Heb. A stringed instrument of the Hebrews; it had eight, ten, or twenty-four strings, which were played either with the fingers or a plectrum.

=Kinschall.= A small curved Turkish dagger.

=Kiosk=, =Kiosque=. A Turkish pleasure-house.

=Kircher=, =Kirchowe=, O. E. A kerchief.

=Kirtel=, O. E. A loose gown, a tunic or waistcoat; also a monk’s gown.

=Kiste=, O. E. A chest.

=Kistvaen=, Celt. A Celtic monument more commonly known as a DOLMEN (q.v.).

=Kit-cat.= Canvas for portraits—28 or 29 inches by 36—of the size adopted by Sir Godfrey Kneller, in painting the portraits of the Kit-cat Club. The club had taken its name from Christopher Cat, a pastrycook, who supplied them at their meetings with mutton-pies. Addison, Steele, Walpole, Marlborough, and other staunch Whigs were the principal members. It dissolved about 1720.

=Klaft=, Egyp. A royal head-dress of striped cloth forming a kind of hood, and terminating in two flaps which fall over the breast. A great many Egyptian statues are represented with the _klaft_. It is suggested by M. Soldi that the invention of this ornament was for the purpose of strengthening the figure, by avoiding the thinness of the shape of the neck.

=Knapsack.= A case for a foot-soldier’s stores, carried at the back. _Knap_ means a protuberance.

=Knife=, Chr. (See FLAYING-KNIFE.) This is also the attribute of Sts. Agatha, Albert, and Christina; and a sacrificing-knife of St. Zadkiel the Angel.

=Knighthood.= The principal English orders are of the GARTER, established 1343, and the _Bath_ shortly afterwards; of ST. PATRICK for Ireland, established in 1783; and the _Order of the Thistle_, at least as ancient as Robert II. of Scotland. There is a French order of the _Thistle_, founded in 1463; but the most ancient French order is the _Gennet_, in 706. In France are also the orders of _St. Michel_ and of _St. Louis_; but these French orders are now all superseded by the Legion of Honour. [See _An Accurate Historical Account of all the Orders of Knighthood_.]

=Knight-service=, O. E. A tenure of lands formerly held by knights, on condition of performing military service

=Knol=, Hind. A road or high road which frequently passes over very low bridges.

=Knop=, O. E. A button.

=Knop=, =Knob=, Arch. A boss.

[Illustration: Fig. 409. Architectural _Knop_ or _Boss_.]

=Knop and Flower Pattern.= An ornament of remote antiquity, original basis of a great branch of decorative art in all nations, common on early Indian monuments, and with different variations in the art of Assyria, Egypt, Greece, and Rome. The variations are regulated according to the flora of the various countries, the _knop_ (or bud) and _flower_ being always the radical idea.

[Illustration: Fig. 410. Bourchier Knot.]

[Illustration: Fig. 410 a. Dacre Knot and Badge.]

=Knot=, Her. An intertwined cord, borne as a badge. Cords intertwined about other figures and devices form so called compound badges, which significantly declared the union of two houses; thus the Dacre knot is entwined about the Dacre escallop and the famous “ragged staff” of Beauchamp and Neville. An ORDER OF THE KNOT was established at Naples in 1252. The badge of silk, gold, and pearls was tied in a knot upon the arm, and those who were invested with it made a vow to untie it at Jerusalem. (Fig. 410 and 410 a.)

=Knuckle-bones.= (See TALUS.)

=Koope=, O. E. A cope.

=Koukim=, Heb. Kilns for the cremation of the dead, such as are occasionally found in the ancient tombs of the Valley of Hinnom (Gehenna).

=Kourganes=, Or. Grassy mounds, such as are frequently met with in Russia in Europe, and which bear a strong resemblance to _tumuli_ and _barrows_. (See TUMULUS.)

=Krems White= or =Vienna White=. A pigment manufactured at Krems in Austria. It is the finest white lead used in oils.

=Krouts=, Hind. An ornament resembling embroidery. The monuments of Khmer art are adorned with krouts of a rich ornamentation, somewhat similar to certain ornaments of the French Renaissance. (See Fig. 408.)

=Krumhorn.= An old musical instrument of the cornet kind.

=Kufic.= (See CUFIC.)

=Kussier.= A Turkish musical instrument, consisting of five strings, stretched over a skin that covers a kind of basin.

=Kymbium.= (See CYMBIUM.)

=Kyphi=, Egyp. A perfume which was burnt before the statues of the gods; it was composed of sixteen different ingredients.