Almack's was the name formerly given to certain assembly-rooms in King Street, St James', London, derived from Almack, a tavern-keeper, by whom they were built, and whose real name is said to have been McCall; afterwards they were called Williss Rooms. They were first opened about 1770, and became famous for the extreme exclusiveness displayed by the lady patronesses in regard to the admission of applicants for tickets to the balls held here - only those of the most assured social standing being admitted. Research Almack's
Artificial flowers are imitations of real flowers, made of various materials. These are not a modern invention. The Romans excelled in the art of imitating flowers in wax, and in this branch of the art attained a high degree of perfection. The Egyptian artificial flowers were made of thin plates of horn stained in different colours, sometimes also of leaves of copper gilt or silvered over. In modern times the Italians were the first to acquire celebrity for the skill and taste they displayed in this manufacture, but they are now far surpassed by English and French manufacturers, but more especially by the latter. During the Victorian period cambric, muslin, satin, velvet, and other woven fabrics, feathers, india-rubber, blown glass, mother of pearl, brass, etc were all employed in making artificial flowers, later silk and plastic were more commonly used, and good results may be had from dyed wood. Research Artificial Flowers
Byzantine art is the symbolic system which was developed by the early Greek or Byzantine artists out of the Christian symbolism. Byzantine Art arose in South-eastern Europe after Constantine the Great had made Byzantium the capital of the Roman Empire in 330 AD and ornamented that city, which was called after him, with all the treasures of Grecian art.
One of the chief influences in Byzantine art was Christianity, and to a certain extent Byzantine art may be recognized as the endeavour to give expression to the new elements which Christianity had brought into the life of men. The tendency towards Oriental luxuriance and splendour of ornament now quite supplanted the simplicity of ancient taste. Richness of material and decoration was the aim of the artist rather than purity of conception. Yet the classical ideals of art, and in particular the traditions of technical processes and methods carried to Byzantium by the artists of the Western Empire, held their ground long enough, and produced work pure and powerful enough, to kindle the new artistic life which began in Italy with Cimabue and Giotto.
With regard to sculpture the statues no longer displayed the freedom and dignity of ancient art. The true proportion of parts, the correctness of the outlines, and in general
the severe beauty of the naked figure, or of simple drapery in Greek art, were neglected for extravagant costume and ornamentation and petty details. Yet in the best period of Byzantine art, from the 6th to the 11th century, there is considerable spiritual dignity in the general conception of the figures. But sculpture was of second-rate importance at Byzantium, the taste of those times inclining more to mosaic work with the costliness and brilliant colours of its stones.
The first germ of a Christian style of art was developed in the Byzantine pictures. The artists, who appear to have seldom employed the living model, and had nothing real and material before them, but were obliged to find, in their own imaginations, conceptions of the external appearance of sacred persons, such as the mother of Christ or the apostles, could give but feeble renderings of their ideas. As they cared but little for a faithful imitation of nature, but were
satisfied with repeating what was once acknowledged as successful, it is not strange that certain forms, approved by the taste of the time, should be made, by convention, and without regard to truth and beauty, general models of the human figure, and be transmitted as such to succeeding times. In this way the artists in the later periods did not even aim at accuracy of representation, but were contented with stiff general outlines, lavishing their labour on ornamental parts.
Byzantine architecture may be said to have assumed its distinctive features in the church of St Sophia built by Justinian in the 6th century, and still existing as the chief mosque in Constantinople. It is more especially the style associated with the Greek Church as distinguished from the Roman.
The leading forms of the Byzantine style are the round arch, the circle, and in particular the dome. The last is the most conspicuous and characteristic object in Byzantine buildings, and the free and full employment of it was arrived at when by the use of pendentives the architects were enabled to place it on a square apartment instead of a circular or polygonal. In this style of building incrustation, the incrustation of brick with more precious materials, was largely in use. It depended much on colour and surface ornament for its effect, and with this intent mosaics wrought on grounds of gold or of positive colour are profusely introduced, while coloured marbles. and stones of various kinds are greatly made use of. The capitals are of peculiar and original design, the most characteristic being square and tapering downwards, and they are very varied in their decorations.
Byzantine architecture may be divided into an older and a newer (or Neo-Byzantine) style. The most distinctive feature of the latter ia that the dome is raised on a perpendicular circular or polygonal piece of masonry (technically the drum) containing windows for lighting the interior, while in the older style the light was admitted by openings in the dome itself. The Cathedral of Athens is an example of the Neo-Byzantine style.
The Dance of Death is a grotesque allegorical representation in which the figure of Death, generally in the form of a skeleton, is represented interrupting people of every condition and in all situations, and carrying them away; so called from the mocking activity usually displayed by the figure of Death as he leads away his victims. It was frequently drawn by artists of the middle ages for cemeteries and cloisters. These representations were common in Germany, and also in France, where they received the name of Danse Macabre, the derivation of which has been much disputed. The series attributed to Hans Holbein, the younger, was first published at Lyons in 41 plates, increased in a subsequent edition by 12 additional plates. A remarkable Dance of Death was painted, in fresco, on the walls of the churchyard in the suburb of St John at Basel, which was injured, in early times, by being washed over, and is now entirely destroyed. This piece has been ascribed to Holbein; but it has long since been proved that it existed sixty years before his birth. Research Dance of Death
Diorama is a mode of painting and of scenic exhibition invented by Messrs. Daguerre and Bouton, and first exhibited in 1823. It secures a higher degree of illusion than the ordinary panorama, by a mode of uniting transparent painting to the usual opaque method, and causing the light to fall upon the picture both from before and behind. At the same time, by means of coloured transparent blinds, suspended both above and behind the picture, the rays of light can be intercepted and made to fall at pleasure in graduated tints upon every part of the picture in succession. The term is now populary applied to small-scal tableau or models in which three dimensional figures are shown against a painted background, and stuffed animals etc are displayed against a natural scene. Research Diorama
In its most popular usage, a flag is a piece of bunting, usually but not always, square or rectangular in shape, attached to a pole and used as a standard, ensign or signal for display or decoration, and to distinguish one company, party, or nationality from another. Formerly in Britain, a black flag was raised outside prisons to announce the execution of a prisoner. Traditionally in Britain, when in mourning flags are lowered to halfway down the pole and 'flown at half mast'.
In the army a flag is a banner by which one regiment is distinguished from another. Flags borne on the masts of vessels not only designate the country to which they belong, but also are made to denote the quality of the officer by whom a ship is commanded. Thus in the British navy an admiral's flag was displayed at the maintop-gallant-mast-head, a vice-admiral's at the foretop-gallant-mast-head, and a rear-admiral's at the mizzen-top-gallant-mast-head.
In the navy the supreme flag of Great Britain is the royal standard, which is only to be hoisted when the sovereign or one of the royal family is on board the vessel. All British ships of war in commission carry the white ensign, that is a white flag divided into four quarters by the red cross of St George and having the union flag (or union 'jack' as it is popularly called) in the upper corner next the staff.
British merchant ships are entitled to carry a red flag with the union in the corner. The union is the flag commonly used on shore as the national ensign. To lower or strike the flag is to pull it down, or take it in, out of respect or submission to superiors. To lower or strike the flag in an engagement is a sign of yielding. A sign of mourning is to hoist the flags at a half or two-thirds of the height of the masts, if on land at half the height of the staff. Besides the use of flags as distinguishing emblems, a very important use of them at sea, both by national and mercantile navies, is as signals according to an arranged code. Research Flag
The French Exhibition was held at Earl's Court, London from May to September 1890. The exhibition consisted mainly of objects which had been displayed at the Universal Exhibition in Paris in 1889, and included works of art, manufactured goods, books, panoramas of parts of Paris and a hippodrome. Perhaps the high point of the exhibition was a chariot drawn by three African lions which was driven around the arena. Research French Exhibition
Most British boroughs came into being through the action of the King or some great noble or bishop in selecting a strong point, primarily as a centre of defence, in late Anglo-Saxon or early Norman times. In the more peaceful days, the twelfth and thirteenth centuries, town burgesses began to increase their freedom to control markets and trade by purchasing charters, or documents setting out the town's right to the status of borough, free to conduct its own affairs in return for an annual payment to the King. The wording of the charter often included the right to hold a weekly market and an annual fair. The market was the most important weekly event in the life of a mediaeval town, and the essential nucleus of the town became the market square. This was the place where agricultural produce from the surrounding countryside could be sold, and where the town craftsmen could display their wares. Stalls and booths, at first temporary and later permanent, began to be erected in the centre of the market place, and outlying parts of the
market were set aside for the sale of livestock. Later, many towns acquired a market hall, or town hall, with a meeting hall for the transaction of business on the upper floor and open arches at ground level where goods might be displayed out of the rain. The market was concerned with supplying local needs; a similar form of business held in certain towns was the fair which had a wider significance because they attracted traders from other parts of England and even from the Continent. At fairs one might buy the specialised products of certain parts of England, such as Sussex iron, Worcestershiresalt, Derbyshire lead or Cornishtin, or spectacle lenses ground at Augsburg in Germany, beaten copperware from Dinant in modern Belgium or cutlery from Solingen in Germany. Research Market Towns
A pillory was originally a post that was erected at crossroads by the lord of the manor and bearing his arms upon it as a mark of his territory. Later, pillories sometimes had a collar fixed to them by which criminals could be secured, later still the pillory became a 'T' shaped frame that was erected in a public place, with holes for the head and arms, in which malefactors were displayed to the public. The pillory was a form of torture, the victim usually being denied food or drink for the duration of their sentence, and often subject to having rotten fruits and vegetables thrown at them by passers-by. The pillory was abolished for all offences with the exception of perjury in 1816, and was abolished for perjury in 1837. Prior to 1837 a perjurer could have his ears nailed to the pillory. Research Pillory
The committee reported various devices during several years. William Barton, of Philadelphia, was appointed to submit designs. Sir John Prestwich, an English antiquarian, suggested a design to John Adams in 1779.
Combining the various designs of William Barton and John Prestwich, a seal was adopted on June the 20th, 1782. Arms: Paleways of thirteen pieces argent and gules; a chief azure; the escutcheon on the breast of the American eagle displayed proper, holding in his dextertalon an olive branch and in his sinister a bundle of thirteen arrows; and in his beak a scroll with the motto: E Pluribus Unum. Crest: a glory breaking through a cloud proper and surrounding thirteen stars. Reverse: A pyramid unfinished. In the zenith an eye in a triangle, surrounded with a glory proper, over the eye the words, Annuit Coeptis. Beneath the pyramid, MDCCLXXVI, and the words, Novus Ordo Seculorum. Research Seal of the United States
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Almack's
