divinities. The term was also applied to certain frontals placed on the heads of horses and elephants on state occasions.

AMULA OR AMA. A vessel used in the early centuries of the Church. for the reception and presentation of wine for the Holy Eucharist.

Amula were, apparently, made of various sizes; some were very large, as we learn from the Liber Pontificalis, which states that Pope Adrian (772-795) presented to the Church of St. Adrian, at Rome, an "amulam offertorium," formed of silver, and weighing sixty-seven pounds. Amula of smaller size were more common, and in some instances appear to have been made of gold, enriched with precious stones; and at others of onyx, crystal, or variegated glass.

When the practice of presenting personal offerings in kind was discontinued, the amula fell into desuetude, and its place was taken by the wine ampulla or cruet.

AMULET. A charm, or object of any description supposed to be possessed with miraculous powers to ward off evil from the wearer; it was usually hung round the neck, and either assumed some distinctive form or was enclosed inside some characteristic object. In Egyptian times amulets were made in the shape of necklaces, the component parts of which were sacred symbols or small figures of the gods, strung together by beads. In Classic times all sorts of objects were worn as amulets, and many were of an indecent nature. As a rule, it appears, by the examples preserved to us, that the ugly and the offensive were more frequently consulted in the formation of amulets than the pleasing and the beautiful.

The Rev. Mackenzie E. C. Walcott gives the following definition :"A preservative; from the Arabic hama-il, a small Koran hung as a necklace, as a safeguard; from hamala, to carry. It was applied to the Holy Eucharist by Christians. The Christian amulet, from being carried in the breast, was often called encolpium, or philacteria; sometimes they were in the form of a medal of bronze, marked with a cross, and of a hand, with the salutation Zekes, Mayest thou live;' a portion of the Gospels hung round the neck; a relic; or a formulary within a box of precious wood, like one preserved at Monza."

AMUN-RA. In Egyptian mythology, the Sun, and king of the gods; represented in the form of a man wearing on his head a lofty crown, the upper part of which resembles two straight feathers placed edge to edge. He holds in one hand the mystic emblem of generation, and carries a sceptre in the other.

ANACHRONISM. In art, a peculiar treatment of a subject, a mode of representing an event, or some special object or accessory introduced into the representation of an event, through which the proper order of time is destroyed. Anachronisms are frequently met with throughout the works of

the middle ages, in representations of Scriptural scenes, where they chiefly display themselves in articles of costume, arms, and armour, and such architectural features as may be introduced. To these anachronisms we are indebted, to a large extent, for our knowledge of the costumes of different countries and times. We have heard of a Dutch painting, representing one of the scenes from the Passion of our Lord, in which a soldier appears dressed in the costume of the sixteenth century, wearing enormous jack-boots, smoking a clay pipe, and reading a printed broadsheet. The anachronisms here are obvious and absurd.

ANADEM. The name given by the ancient Greeks to a plain narrow band worn by young persons of both sexes. It is frequently found in art works, where it appears worn over, and as if to confine, the hair; and extends round the head from the back, above the neck, to the front, immediately above the forehead.

ANAGLYPHA OR ANAGLYPTA. (Gr.) The term applied to vases or other vessels of gold, silver, or bronze, ornamented with work in relief, produced by embossing and chasing. The term has also been applied to cameos and gems which present designs in relief, produced by cutting away and sinking the ground.

ANAGLYPHIC. Term applied to artistic work in relief; but most commonly applied to embossed work in metal. Repoussé.

A device or ornament embossed in relief is termed an ANAGLYPH.

ANALOGIA. Term signifying proportion in architectural composition. It is used by some ancient authors, including Vitruvius, who, in the first chapter of his third Book, says :-"The design of Temples depends on symmetry, the rules of which Architects should be most careful to observe. Symmetry is dependent on proportion, which the Greeks call avaλoyia. Proportion is a due adjustment of the size of the different parts to each other and to the whole; on this proper adjustment symmetry depends. Hence no building can be said to be well designed which wants symmetry and proportion." (Gwilt's Translation.)

ANALOGIUM. The name given to a reading-desk used in Christian churches. It was either movable or fixed, and at an early date was made in the form of an eagle with outspread wings. The term has also been frequently applied to an ambo, or more correctly to a second or precentor's desk attached to it; and in some instances to the enclosure of the tombs of Saints; we find it used with this latter signification by Ducange in his Glossary.

ANALOGY. In the fine arts the agreement or likeness between objects in certain conditions or effects while the objects themselves are otherwise entirely different. In the science of colour the term is applied to a certain

description of harmony: thus HARMONY OF ANALOGY implies the juxtaposition or the association of colours different in their tones and hues but having a common base. Purple and red, purple and orange, brown, red, and orange, have all red in common; blue and green, green and violet, have blue in common; green, orange, and yellow, have yellow in common; and black, brown, and grey, have black in common; all these groups, therefore, are analogous in certain properties, and when skilfully graduated and arranged present harmonies of analogy.

ANCHOR. In architecture, the name is given to an ornament shaped somewhat like the fluke of an anchor, but which more closely resembles a barbed arrow-head. It is only met with in Classic architecture, where it alternates with the egg ornament in the decoration of the echinus, or ovolo. The term is applied by the French architects to an article constructed of iron, in the shape of an S, Y, or T, or of any ornamental form of a spreading outline, and employed by them for the purpose of tying walls together which may have a tendency to spread laterally from the pressure of internal arches or vaults, or which incline from the perpendicular from any other cause; and also for the purpose of staying tall chimneys or such elevated objects which are much subjected to the force of the wind. The anchor is passed, at a point near its centre, through an eye on the end of an iron rod or chain, and rests against the external surface of the wall to be supported. The rod or chain passes through the wall, and is attached at its other end to the

1

nearest construction capable of withstanding its strain. Fig. 1 is from an example on a sixteenth century house at Aix-la-Chapelle.

In Christian art, the anchor in its proper form has been used from the earliest times, being frequently found sculptured on the tombs in the catacombs, and engraved on ancient Christian gems. It has been accepted in all periods of Christian art as the symbol of hope, steadfastness, and

patience. St. Paul speaks of hope as an "anchor of the soul, both sure and steadfast," and from these words the symbol most probably was originally devised. An anchor is the emblem of St. Clement, P.M., St. Felix, P.M., and St. Nicholas, B.C.

ANCILE. The sacred shield sent from heaven to Numa, with the information that the welfare of Rome depended upon its safe keeping. It was, along with eleven other shields made in imitation of it, carried in procession by the Salii, or priests of Mars Gradivus, on the festival of the Deity; and at all other times securely kept in the temple of Mars on the Palatine hill. The shape of the shield is described as oblong, rounded at each end, and curved inward on the sides. The eleven shields, made in exact imitation of the true ancile, were fabricated by an armourer named Mamurius Veturius, to the order of the king, who desired by such a multiplication to render the safety of the heaven-sent shield more certain. The ancilia are found represented on ancient gems and coins.

ANCON. This term has different significations, but it is most generally applied to the consoles which support the ends of the cornice over the ornamental dressings of doorways in Classic architecture. It is used with this signification by Vitruvius in the sixth chapter of his fourth Book :"The ancones or prothyrides, which are carved on the right and left, reach to the bottom of the level of the architrave, exclusive of the leaf. Their width on the face is one-third of the dressing, and at the bottom one-fourth part less." As may be seen from this quotation the consoles were also called PROTHYRIDES. The term Ancon has also been applied to a quoin; and in some rare instances to a cross beam of a roof or a rafter. commonly used with any of these significations at the present time.

It is not

ANDIRON. A term frequently met with in old writings, where it is employed to signify the article now commonly called a fire-dog. Ancient andirons were made in various shapes, and were used singly or in pairs. Single ones were formed of two upright standards, with spreading feet, connected together by a bar, upon which the logs of wood were supported in an inclined position. When used in pairs, each one had a standard in front and a horizontal bar extending behind with the end turned down as a support; the logs were either laid horizontally from bar to bar, or crosswise against each bar alternately. The only portion of the andiron which admitted of artistic treatment was the standard, and it frequently assumed important dimensions, and was elaborately decorated with figures, heraldic devices, and conventional ornaments. The standards were made of iron, copper, or brass; and were sometimes enriched with ornaments in silver.

"The roof o' the chamber

With golden cherubims is fretted: Her ANDIRONS
(I had forgot them,) were two winking Cupids

Of silver, each on one foot standing, nicely

Depending on their brands."— Cymbeline, Act II., Scene 4.

The latter part of this passage has been differently read by commentators; but it is obvious that the andirons described by Shakspeare were those he had somewhere seen, the standards of which were surmounted with roguishlooking cupids, in silver, supporting burning torches, which were in fact their main points of attachment to the lower portions of the standards. We do not think that the "brands" allude to the irons which supported the logs, as we are asked to believe by one commentator. Burning torches were appropriate objects on andirons, and cupids their appropriate supporters. The following terms are also met with:-HANDIRON, ANDYORONE, ANDIRNE, AUNDHYRYN and HAWYNDYRNE, all of which have the same signification as the term above described.

ANDREW, ST. Apostle, and Patron Saint of Scotland and Russia. He is usually represented in Christian art as an aged man, of venerable countenance, and with a long flowing white beard; as the younger brother of St. Peter, artists have given his face a likeness to that of the great Apostle; and he is almost invariably represented with his emblem, the instrument of his martyrdom, the cross in the form of an X.

*

The directions for his representation, given in the Guide de la Peinture, are:-" Saint André: vieillard, cheveux frisés, barbe séparée en deux. Il porte une croix et un cartel non déroulé."

St. Andrew is not mentioned in the Scriptures after our Lord's Ascension; but legendary history states that, after that event, St. Andrew visited Scythia, passing through Cappadocia, Galatia, and Bithynia, preaching the Gospel to all the inhabitants. He is further stated to have carried the Gospel to Byzantium, where he converted many, founded a church, and ordained Stachys its first bishop. After many journeys in Thrace, Macedonia, and Thessaly, he arrived at Patræ, a city of Achaia, where he fell under the displeasure of Aegeas, Proconsul of the province, for having turned the inhabitants from their idolatries and converted his wife Maximilla and his brother to the Christian religion. Aegeas called St. Andrew before him, and, after publicly scorning the new religion founded by one who had suffered an ignominious death upon the cross, told him that unless he sacrificed to the deities of the country he should be put to death upon a cross like that he had extolled, and the Master he had so fearlessly magnified. Next day, on the Saint defying the Proconsul, he was sentenced to be seven times scourged on his naked body, and then crucified by being bound by cords to a cross. On approaching the cross the Saint delivered his famous invocation :-" Hail, precious Cross, that hast been consecrated by the body of my Lord, and adorned with his limbs as with rich jewels. I come to thee exulting and glad; receive me with joy into thy arms. O, good Cross, thou hast received beauty from our Lord's limbs I have ardently loved thee. Long have I desired and sought thee; now thou art found by me, and art made ready for my longing soul :

* Manuel D'iconographie Chrétienne, Didron. Paris, 1845.