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opposition of masses of dark color, centering the attention on the objects in full light. Chiaroscuro Prints.-Prints made in two or colors, obtained by successive superimposed impressions from engraved plates or more usually wood blocks, each block carrying the color desired for its part of the design. This process has been practised since early in the sixteenth century, and three or four blocks and colors were generally used.

Choir. In a cathedral, the part of the building in which services are chiefly held and which contains the high altar. Its equivalent in a smaller church building is the chancel.

Choragic Monument.-A shrine or small temple erected by the successful choragos, or chorus leader in a Dionysiac festival in ancient Greece, to hold the tripod received as a prize.

Christian Art.-The body of art developed under the influence of Christianity, and devoted to religious or ecclesiastical purposes. Christian art with its ideals, traditions and formulæ, includes substantially all the art activities of medieval Europe until the time of the Renaissance.

Chrismatory.-A vessel for holding the sacred oil in the church.

Chromo. A popular term for a chromolithograph. Chromolithography.-Lithography in colors effected by means of impressions from as many different stones, as separate colors appear in the design, and the use of oil colors when it is desired to imitate a painting in oil.

Chryselephantine. The term applied to the method of finishing the surface of colossal statues by the Greeks. On a model of base material, plates of ivory were fastened to reproduce the parts of the nude body shown, while plates of gold represented the drapery, ornaments or armor. Famous examples were the statue of Athene in the Parthenon at Athens, forty feet high, and the statue of Zeus at Elis, both by Pheidias.

Cinque-cento (chen-ka-chan'-to).-Means 500; a contraction for one thousand five hundred; used to denote the art of the sixteenth century, especially in Italy; or to works executed within that period. Classic. Conforming to the Greek or Roman canons of art and thence to any well-established and ordered form of art.

Classicalism.-Attempts to reproduce or to imitate Greek or Roman art.

Clearstory or Clerestory (kler-stö'ri).-An upper story of a church provided with windows which give the principal light to the central portions of the main building.

Clio (kli'o).—The Muse of History.

Cloister. An enclosed garden or similar space in ecclesiastical or collegiate establishments, and particularly the arcaded and covered walk bordering it. A place designed for exercise and recreation. Colorist.—A painter skilled in the use of color, especially of warm, brilliant coloring.

Color scheme. That element of a design which it is sought to explain by the mutual relation of the colors selected. The system of arrangement of independent colors; colors characteristic of a school or of a painter or of any particular work. Composition. The arrangement of parts so as to agreeably present a harmonious grouping whereby the parts are subordinated to the whole.

Contour (kon-tör').-The lines which define the outline of any figure.

Conventional. Reproduction of natural objects according to the accepted traditions, models, or ideas, without regard to strict natural forms and appearances, yet retaining the fundamental natural forms and principles.

Crypt (kript). The part of a church building under the main structure; generally used for chapel, shrine, or memorial purposes.

Cupid. The god of love, corresponding to the Greek god Eros.

Dado. A plain flat surface between a base and a surbase molding. In a pedestal a face of the die. Detail. A part, small feature, particular of a drawing or painting considered as opposed to the general effect or ensemble of the work. Discobolus (dis-kõb’ō-lŭs).-One who threw the discus; the famous statue of Myron of ancient Greece. Distemper. A method of painting in which the colors were mixed in a glutinous medium of which the whites of eggs were a common ingredient; used on canvas and wood before the use of oil mediums, and for wall-painting. Equivalent to Tempera painting. Drapery.-Representation in sculpture and painting of the dress or clothing of human figures; also curtains, hangings, tapestries, etc.

Easel-picture. A small or easily transportable picture painted upon an easel in distinction from mural decorations, frescos, and ceilings.

Eclectic. One who selects from the several schools of art such principles or practices as recommend themselves to his taste, judgment, or opinions; one who does not conform it. all particulars to any one school but has something in common with several. Embossing.-Producing designs in relief upon surfaces of metal, leather, and other substances. Enamel. A glass-like substance, either transparent or opaque, often colored, fused upon surfaces of gold, silver, or other metal, for decoration. In cloisonné enamel the sections of different colors are separated by wires; champlevé enamel has the background of metal hollowed to receive it; surface enamel has the entire surface covered with enamel. Encaustic.-Painting with wax as a vehicle with the aid of heat; but in modern use the wax instead of being melted is dissolved in a volatile oil. Encaustic tiles.-Tiles in which the pattern of clay of one color is embedded in a ground of clay of another color.

Engraving. The art of executing designs on a smooth surface by cutting or scratching with a burin or graver's tool, or by eating out the substance by use of acids (etching). The surface may then be used, if desired, for printing the design on paper or other material. In wood engraving the surface about the design may be removed, leaving it in relief to print black or the design may be excavated to print white on black. On metal, ordinarily the design is excavated to receive the ink applied in the printing process. The plain surface is then wiped clean, and under the press the ink of the design is taken up by the paper. See also Etching.

Ensemble (on-sŏm′bl).—A consideration of a painting or other art work as a whole; the regard of the component parts only as contributory to the general effect.

Entablature. In classic architecture the part of the order above and resting on the columns. It is made up of the Architrave, the Frieze and the Cornice.

Etching. A method of engraving by acids without the use of the graver's tool. The surface is covered with an acid-proof protecting ground of varnish, and the artist draws with his etcher's needle his design freely on the plate, cutting through the ground and exposing with his lines the surface. The plate is then put in an acid bath or mordant, which attacks the exposed surfaces, etching the design. In dry point etching the design is scratched on the surface Both by the needle without the use of acids. processes may be combined in finishing a plate. Execution. The technical skill displayed in painting or sculpture.

Façade (fä-säd').—The principal face of a building. Flat. Not embossed or relieved. In art criticism failure to show distinctness or roundness or proper perspective, is characterized as flatness. Foreshorten.-In the graphic arts, to correctly represent the actual appearance of objects lying in planes not perpendicular to the observer's line of vision; objects inclined from the perpendicular and seen obliquely. Fresco. A common mode of wall-painting in which the design is painted on the wet fresh mortar or plaster, so that the color is intimately incorporated with it as it hardens.

Frieze (frēz).That portion of the entablature between the architrave and the cornice; a decorative band similar to this in form.

Gargoyle. A grotesquely carved waterspout on a Gothic building.

Genre (zhon'r).-A painting of common life, as the interior of a home, a country or village life scene. Glaze. A glass-like substance used to cover or coat the surfaces of pottery, tile-work, porcelain, or stoneware; in oil painting the glaze is a layer of transparent varnish applied to a painted surface. Grand prix (gron prē), Le.—Abbreviated for grand prix de Rome, a prize consisting of a four years' pension from the French Government upon the award of the Academy of Fine Arts to the successful competitors at annual examinations in painting, sculpture, engraving, architecture, or music. The successful recipient is sent to reside in Rome.

Graphic Arts. The arts which strive to reproduce on a smooth surface, images by means of lines or color, with light and shade.

Halo. The circle of light or nimbus surrounding the head of a saint.

Hebe (he'bě). The Greek goddess of spring and youth. Helix, pl., helices. A spiral, volute, or twist on a Corinthian capital; resembling the tendril of a vine. Hellenistic. Sculpture resembling or based upon that of Lysippus which prevailed in ancient Greece from 330 B. C. until 165 B. C.

Hera (he'rä).—The Greek queen of heaven, sister and wife of Zeus; corresponding to the Roman Juno. Hermes (her'mēz).-The Greek messenger of the gods; corresponds to the Roman Mercury.

Hexastyle. Supported by six columns, as the front of the Maison Carrée at Nîmes.

Idealist. One who seeks to realize the highest perfection of natural objects by rejecting all imperfections so as to show Nature as she might be in her highest types, not as she is.

Illumination.-Hand ornamentation of books and manuscripts, as practised in the Middle Ages in flat color and gilt.

Illustration. A drawing, design, or painting placed in a book to elucidate the text matter. Impasto. Laying on colors thickly and boldly; opaque colors bearing only the oil in which they are ground and only a limited quantity of that as used. The effect is of continuous brush work without blending. Impressionist.-A painter who believes that he should paint objects as they first strike him with the utmost regard for impressions of color, light, and effect, but with less care for finish, detail, or accuracy of form. One who strives more for the effect than for a likeness. Intarsia. A method of decorating surfaces of wood, ivory, etc., with designs executed by inlaying substances of differing colors.

Lacquer (lǎk'ér).—Decorative work, polished and treated with lacquer, a resinous varnish. Lacquerware includes material thus ornamented. This is an important industry in the East whence come black lacquer, gold lacquer, and sprinkled lacquer. Life-class. A group of art students engaged in study from living models.

Light. A patch of light color in painting, generally of white, used to diversify the dark tones of the work. High light is the point in the picture upon which the light strikes with the greatest force without shadows. Line-drawing. A drawing in which the objects represented are produced wholly by lines, both in contour and shading.

Line of beauty.-A line which artists agree must enter into all graceful compositions of form or color; while this line takes varying forms according to different artists, the majority agree upon a close resemblance to an elongated form of the letter S. Loggia (lōj'ä).—An arcade or gallery located usually higher than the first story, opened to the light and air; an elevated arcade. They are common to Italian architecture.

Mannerism.-A labored and wearisome peculiarity of execution. A characteristic treatment devoid of spirit and vitality, pursued to a fault. Medium. Any material with which dry pigments are mixed or colors ground, and used as a means of applying the colors, as oils, varnishes, or water. Metope. A rectangular panel in a frieze. Metopes are separated by upright channeled blocks called Triglyphs.

Miniature. A picture, often a portrait, of very small size. Formerly minium, cinnabar or red lead, was used in the work of illuminating or decorating books with small designs, hence the name. Model. A person who poses for an artist and supplies the type of form, likeness, or character he is painting; the clay or plaster form from which a statue is to be cast; a pattern or standard example. Modeling. In painting, the act of bringing the parts into relief and of showing curvature and solidity; failure to properly secure this effect produces flatness. Monochrome. A picture produced by the use of only one color, although light and shade may be represented by the use of tints and shades of the color used. Mosaic. A design executed by placing side by side small pieces of different colored materials, stone, glass, etc.

Motive. The leading or principal idea in the mind of the artist, characteristic of a work and often repeated. Mullion. The upper bar, usually of stone, between the parts of a window.

Mural decoration.-A painting upon the wall of a building.

Naturalism. In art the reproduction of and fondness for the grosser forms of nature and the lower manifestations of humanity; a viewpoint remote from both the fidelity of realism and the illusion of idealism. Nave. The central aisle of a church, usually higher and broader than the side aisles. Neutral.-Neutral colors are those which have no decided quality of color and are more or less grayish. Nike (ni'kē).—Victory; the Greek goddess corresponding to the Roman Victoria. Usually represented as a winged maiden just alighting. Nimbus. A circle or disk of light surrounding the heads of sacred and illustrious personages in ancient and medieval paintings. The nimbus surrounding the head of God was either triangular or composed of two overlapping triangles; that of Christ was marked by the cross; and the nimbus of the Virgin was circular. A square nimbus indicated that the personage thus adorned was living at the time of painting. Ogee. A double curve in moldings and arches formed by the union of a convex and a concave line. Order. In classic architecture the unit of composition. The order consisted of the columns and the entablature, each with its component parts. The order often stood on a base or stylobate, and in Renaissance architecture, orders might be superimposed, one above another.

Orientation. In church building the custom of placing the structure due east and west, with the choir or sanctuary at the east end.

Ormolu (ôr'-mö-lü).-Ornaments in low relief, cast in brass, chiseled and gilded, and applied to furniture and cabinet work.

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Panel. The earliest paintings were done upon pieces of board-oak, poplar, or chestnut-cemented gether, in place of canvas. The term panel was applied to these as well as to pictures painted upon the panels of walls and ceilings.

Parian Marble.-Fine statuary marble procured in the quarries in the island of Paros, said to surpass all others.

Pediment. The gable of a classic building with the cornice at the base.

Pendentive. That part of a vault which hangs down between two arches supporting a dome. Pentelic marble.-Statuary marble obtained from the Pentelican quarries near Athens and rank next in esteem to that of Paros.

Perspective. That branch of graphic art which, representing objects on a plane surface, shows them in their due size and position in apparent space, relative to the observer and to each other. Aërial perspective takes account of the changes in the appearance of distant objects in color, value and detail by reason of the intervening air. Perpendicular Style. The style of late English Gothic

architecture. So called because the leading lines in the windows and elsewhere are slender and perpendicular.

Pilaster. A square pillar decorated with base and capital, set into a wall and projecting from one-fourth to one-third its thickness from the surface of the wall. Grecian pilasters difter in form and style from the columns of the building; but Roman pilasters conform to the companion pillars.

Pinxit. (He or she) painted it. A word which sometimes follows the name of the artist on a painting. Often abbreviated to pxt.

Plinth. The thin flat stone found at the base of a column, statue or wall.

Pointed Style.-A general synonym for the Gothic because the arches are no longer round but pointed, defined by two curves meeting.

Propylaeum (prop-I-lē'-ŭm).-An elaborate ornamental gateway leading into a sacred enclosure, and deriving strength and massiveness of design from its original use as a fortifying structure.

Quatrefoil. An architectural ornament, composed of four foils or leaves.

Realistic. That which represents what is real in fact; presenting the literal, harsh truth; without selection of the beautiful or good in preference to the ugly or bad. Sometimes used in a derogatory or bad sense in confusion with the term naturalistic; opposed to idealistic and romantic.

Relief. The projection of a figure or plan from the plane in which it is made. When the relief or projection is very great it is called high-relief or altorelievo; when very slight, low-relief or bas-relief; when only moderate, mezzo-relievo. The term is also applied to a representation so treated. Replica (rep'l-kä).-Another and similar duplicate work of art made by the artist. Unlike a copy, a replica may be valued as an original.

Repoussé (ra-pö-sa').-Pushed or beaten back; a form of art work in metal in which the figures are in relief from being beaten up on the reverse side. Reredos. An architectural ornamented screen behind an altar.

Rococo (rō-kō'kō).—An incongruous, expressionless style of decoration common in Europe as an extension of the Louis-Quatorze style. The materials involved were costly and the effect was one of richness and splendor and the decoration was not unpleasing; but the elements of permanence and artistic feeling were lacking.

Romanesque. The style of architecture and art which arose in Western Europe late in the Middle Ages. A characteristic mark was the use of the round arch, and the classic orders were abandoned. Romanticism.—In art and literary history, the fondness for the ideals, heroes and events of the late Middle Ages, which dominated taste after the reaction in the early nineteenth century against classicalism.

Rood Screen. In English church architecture the screen bearing a Rood or Crucifix, which divided the choir of a church from the nave.

Rose Window.-A large circular window divided by mullions into sections; common in Gothic cathedrals.

Sculpsit. He (or she) carved or engraved it. A word which follows the name of the sculptor on pieces of sculpture.

Statuesque. Of the size, dignity, and beauty of a

statue.

Still-life. Flowers, fruits, furniture, game, and other inanimate objects represented in painting.

Tapestry. A heavy fabric, usually woven though sometimes embroidered, on which designs, figures or elaborate groups are executed. During the Middle Ages, tapestries were used to cover and decorate walls. The Bayeux tapestry, 231 feet long, in the town hall of Bayeux in Normandy, depicts the Norman Conquest of Britain in 1066. Tempera. Same as distemper, which see. Terra-cotta.-Baked earth: a pottery of finer texture and greater hardness than brick. It has been used

as a material for making figurines, statuettes, basreliefs, tiles, and vases from very ancient times. Torso. The trunk of the statue of a human figure. Transept.-A cross wing of a cathedral passing in front of the choir and crossing the nave.

Trefoil. An architectural ornament composed of three foils or leaves.

Triforium.—An arcade or open gallery running above the main arcade in the interior of a church below the clerestory.

Triglyph. An ornament composed of three flutings, found on the Doric frieze separating the metopes. Triptych. A painting or picture in the form of three panels often hinged and used as an altar-piece.

Value. The effect of a proper observance and distribution of light and shade of objects, regardless of color. Its management involves observance of the laws of aerial perspective, so that objects "in value" occupy

their proper relative positions in the atmospheric plane in which they lie.

Vault. An arched roof or ceiling. The barrel vault is a half cylinder. Groined vaults or cross vaults are vaults which intersect one another on lines termed groins. Continuous lines of stone usually rising from a capital or corbel, and projecting in from the surface of the vault are called ribs. These transverse ribs with diagonal ribs in cross-vaulting strengthen the structure and are found chiefly in Gothic buildings.

Volute. A spiral scroll.

Voussoirs (vö-swå').-The component stones of an arch.

Water-color. A paint mixed with water instead of oil; a picture painted with water-colors.

Zoöphorus or Zophorus.-A continuous frieze decorated with the forms of animals, conventionalized or natural.