V.

and we speak from personal experience, that Plates detached in any way from the text they are intended to illustrate, or bound in separate volumes, are a mistake, especially in a work designed for ready reference.

The selection of the illustrations is a matter of considerable difficulty, but we shall do our utmost to give those most to the point; and we hope that many, extracted from our own sketch-books, and made in our travels, and at other times, will be found of great suggestive value to the Architect, Sculptor, and Decorative Artist. In all cases, we shall give details in geometrical rather than perspective drawings, being of more practical value. When advisable, however, we shall adopt the latter style.

TO WHOM ADDRESSED.

This Work is specially addressed to the Architect, the Archeologist, the Painter, the Sculptor, and every Art Workman connected with practical Architecture and its attendant Arts. And should it tend to make all these take a more loving and intellectual interest in their daily work, we shall consider our years of study and labour well spent.

Our Dictionary is also addressed to the general reader, and particularly to the reader who feels an interest in Architecture and Art, and who travels to inspect their marvels. To him it will be of great value, explaining the true meaning of terms he meets everywhere in his studies, and giving him the explanation of the uses of and names for the countless details and interesting objects he sees in buildings of all styles and periods of Architecture. It will likewise prove a satisfactory guide to the study of Ancient Art, whether in sculpture, painting, mosaic, enamel, metal-work, stained-glass, or embroidery.

In conclusion, we have gratefully to acknowledge the labours of all who have gone before us, from which we have learned all we know, or through which we have been directed into channels of private study and investigation; and in the hope of doing something not altogether unworthy of our teachers, we commend our Dictionary to the consideration of our readers.

LIVERPOOL, 1878.

W. & G. AUDSLEY.

PREFACE TO THE SECOND EDITION.

THERE is probably no task more agreeable to an author than that of writing a preface to the second edition of his Work, for in it he has an incontestable proof that his labours have received the public recognition he ventured to look and hope for. We take the task in hand with feelings of natural pride and gratification, for in a Work of this size, treating exclusively of subjects which are only interesting, strictly speaking, to the more highly cultivated readers and students of art, one can merely look for a moderately wide-spread recognition and support. The success of our Work has, therefore, surpassed our most sanguine expectations.

We have received much kind encouragement from several influential and accomplished gentlemen, who have expressed their approval of both the aims and the treatment of our Dictionary; first among whom was the late M. Viollet-le-Duc, who, from the earliest stages of our undertaking, supported us with his warm approval. The letter written by him on receiving the first volume, very shortly before his death, we transcribe in this preface. We need not say that such a letter from so learned an architect, artist, archæologist, and author is highly valued by us, and the receipt of it will ever remain one of the brightest incidents connected with the publication of our Work.

We have now to say a few words about the scheme of our Dictionary, which has, in one or two quarters, either been carelessly or wilfully misunderstood. We have been questioned as to the principle adopted in the

selection of the terms described. Our principle is a simple one

-as the work is a Dictionary of Architecture and all the Arts which have been allied with it, so it contains all the chief terms met with in Architecture, Sculpture, Painting, and the Decorative Arts. The proper study of all these is impossible without the study of Archæology; we have therefore brought abreast of them all those archæological matters which are intimately linked with them. We venture to say that not one term in our volumes will be found to lie outside this at once simple and comprehensive scheme. M. Viollet-le-Duc readily realised the importance of such a bringing together of Architecture and Archæology, and the following letter shows how thoroughly he approved of our scheme :

Monsieur et cher confrère.

27 Juillet, 79.

68 RUE CONDORCET,

PARIS.

J'ai reçu le 1er volume de votre beau dictionnaire populaire d'architecture, et je me fais un plaisir de vous exprimer la satisfaction que j'ai éprouvée en le parcourant. Vous rendrez ainsi un grand service aux jeunes architectes anglais en leur présentant suivant une méthode critique tous les éléments constitutifs de notre art. Cet ouvrage qui manquait, me semble-t-il chez vous, comme il manque encore dans d'autres pays, permettra d'apprécier avec plus d'intérêt et d'attention les œuvres du passé qui peuvent enseigner tant de choses aux contemporains. Il n'y a pas d'étude architectonique possible aujourd'hui sans connaissances archéologiques et votre dictionnaire aura cet avantage de faire ressortir comment ces deux connaissances sont intimement liées.

Permettez-moi en même temps de vous renouveler mes remerciements pour l'honorable dédicace que vous avez placée en tête de cet ouvrage. Cet hommage que des confrères Anglais veulent bien rendre à mes travaux est fait pour me toucher profondément.

Veuillez agreer, Monsieur et cher confrère, l'expression de mes sentiments les plus distinguées.

E. VIOLLET-LE-DUC.

The present edition has been carefully revised, and the typographical and other errors corrected.

CHRISTMAS, 1879.

W. & G. A.

DICTIONARY

OF

ARCHITECTURE

AND

THE ALLIED ARTS.

A

A (ALPHA). The first letter of the Greek alphabet. This letter has frequently been introduced in Christian art in conjunction with the last letter of the alphabet, OMEGA (2), for the purpose of expressing the words in the Revelation of St. John: "I am Alpha and Omega, the First and the Last." In early art, they appear in connexion with the cross and the monogram of the name Christ in Greek (XPIΣTOΣ), or inscribed on the nimbus of the Agnus Dei. Numerous examples occur in the Catacombs, and on the sarcophagi of the earliest epoch of the Christian era. In a fresco in the apse of the crypt of the Cathedral of Auxerre (XII century), the alpha and omega are written on the pages of an open book held in the left hand of the figure of the Deity. In all these works the omega is of the ancient form (w). See Agnus Dei and Nimbus.

AARON'S ROD. An enrichment, consisting of a straight rod from which almond leaves are represented sprouting on each side. The detail may be said to belong almost exclusively to plaster work. The term has been applied incorrectly to a rod round which a serpent is coiled.

ABACISCUS. (Lat.) A small angular-shaped slab of coloured marble, glass, or other material, used in the construction of ornamental pavements or floors. The term is also given to square divisions of a pavement containing designs formed of the above tessera. The term has a third signification, being applied to small square tablets or bracketed stands for statuettes or other classic ornaments.