Ballast is a term applied to heavy matter, such as stone, sand, iron, or water placed in the bottom of a sailing ship or other vessel to sink it in the water to such a depth as to enable it to carry sufficient sail without oversetting. The term ballast is also applied to the sand placed in bags in the car of a hot-air balloon to steady it and to enable the aeronaut to lighten the balloon by throwing part of it out. Ballast is also the name for the material used to fill up the space between the rails on a railway in order to make it firm and solid. Research Ballast
The Byzantine Empire, the Eastern Roman Empire, so called from its capital Byzantium or Constantinople was founded in 395 AD when Theodosius at his death divided the Roman Empire between his sons Arcadius and Honorius. In this empire the Greek language and civilization were prevalent; but the rulers claimed still to be Roman emperors, and under their sway the laws and official forms of Rome were maintained. It lasted for about a thousand years after the downfall of the Western Empire.
The Eastern Empire, then comprising Asia Minor, Syria, Egypt, Greece, Thrace, Moesia, Macedonia, and Crete, fell to Theodosius's elder son Arcadius, through whose weakness and that of several of his immediate successors it suffered severely from the encroachments of Huns, Goths, Bulgarians, and Persians. In 527 the celebrated Justinian succeeded,, whose reign is famous for the codification of Roman law, and the victories of his generals Belisarius and Narses over the Vandals in Africa, and the Goths in Italy, which was henceforth governed for the Eastern Empire by an exarch residing at Ravenna. But his energy could not revive the decaying strength of the empire, and Justin II his successor, a weak and avaricious prince, lost his reason by the reverses encountered in his conflicts with plundering Lombards, Avars, and Persians.
Tiberius, a captain of the guard, succeeded in 578, and in 582 Mauricius; both were men of ability. In 602 Phocas, proclaimed emperor by the army, succeeded, and produced by his incapacity tlie greatest disorder in the empire. Heraclius, son of the governor of Africa, who headed a conspiracy, conquered Constantinople, and caused Phocas to be executed in 610. He was an excellent general, and finally succeeded in repressing the Avars and recovering the provinces lost to the Persians, whose power indeed he overthrew. But a far more dangerous enemy to the Byzantine empire now appeared in the Muslim power, founded amongst the Arabians by Mohammed and the caliphs, which gradually extended its conquests over Phoenicia, the countries on the Euphrates, Judea, Syria, and Egypt from 635-641.
The empire was in sore straits when Leo the Isaurian (Leo III), general of the army of the East, mounted the throne in 716, and a new period of comparative prosperity began. Some writers date the beginning of the Byzantine Empire proper, and the end of the Eastern Roman Empire, from this era.
Numerous reforms, civil and military, were now introduced, and the worship of images was prohibited. Leo repelled the Arabians or Saracens from Constantinople, but allowed the Lombards to seize the Italian provinces, while the Arabians plundered the Eastern ones. Constantine V in 741 recovered part of Syria and Armenia from the Arabians; and the struggle was carried on not unsuccessfully by his son Leo IV. Under his grandson, Constantine VI, Irene, the ambitious mother of the latter, raised a large faction by the restoration of image worship, and, in conjunction with her paramour Stauratius, deposed her son, and had his eyes put out in 797.
A revolt of the patricians placed one of their order, Nicephorus, on the throne, who fell in the war against the Bulgarians in 811. Stauratius, Michael, Leo V and Michael II in 820 ascended the throne in rapid succession. During the reign of the latter the Arabians conquered Sicily, Lower Italy, Crete, and other countries. The long dispute as to image-worship was brought to a close in 842, when the practice was finally sanctioned at the council of Nicaea, under Michael III.
He was put to death by Basil the Macedonian, who came to the throne as Basil I in 867, and whose reign formed a period of great glory in the history of the Byzantine Empire. He founded a dynasty (the Macedonian) which lasted until 1056. Among the greatest of his successors were Nicephorus II (Phocas), and John Zimisces in 969, who carried on successful wars against the Muslims, Bulgarians, and Russians.
Basil II succeeded this prince in 976. He vanquished the Bulgarians and the Arabians. His brother, Constantine IX was succeeded by Romanus III in 1028, who married Zoe, daughter of Constantine. This dissolute but able princess caused her husband to be executed, and successively raised to the throne Michael IV, Michael V, and Constantine X. Russians and Muslims meanwhile devastated the empire. Her sister Theodora succeeded her on the throne in 1054.
After the short reign of Michael VI from 1054 until 1057 Isaac Comnenus, the first of the Comnenian dynasty, ascended the throne, but soon after became a monk. The three chief emperors of this dynasty were Alexius, John, and Manuel Comnenus. During the reign of Alexius I from 1081 to 1118 the Crusades commenced. His son, John II, and grandson, Manuel I, fought with success against the Turks, whose progress also was considerably checked by the Crusades. The Latins, the name given to the French, Venetian, etc, crusaders, now forced their way to Constantinople in 1204, conquered the city, and retained it, together with most of the European territories of the empire.
Baldwin, count of Flanders, was made emperor; Boniface, marquis of Montferrat, obtained Thessalonica as a kingdom, and the Venetians acquired a large extent of territory. Theodore Lascaris seized on the Asiatic provinces, in 1206 made Nice (Nicaea) the capital of the empire, and was at first more powerful than Baldwin. Neither Baldwin nor his successors, Henry, Peter, and Robert of Courtenay, were able to secure the tottering throne. John, emperor of Nice, conquered all the remaining Byzantine territory except Constantinople, and at last, in 1261, Michael Palaeologus, king of Nice, conquered Constantinople, and thus overthrew the Latin dynasty.
Thus again the vast but exhausted Byzantine Empire was united under Michael Palaeologus, founder of the last Byzantine dynasty. Internal disturbances and wars with the Turks disturbed the reigns of his descendants Andronicus II and Andronicus III. For a time the Cantacuzenes shared the crown with John Palasologus, son of Andronicus III; but in 1355 John again became sole emperor. In his reign the Turks first obtained a firm footing in Europe, and conquered Gallipoli in 1357. In 1361 Sultan Amurath took Adrianople. Bajazet conquered almost all the European provinces except Constantinople, and was pressing it hard when Timur's invasion of the Turkish provinces saved Constantinople for this time in 1402. Manuel then recovered his throne, and regained some of the lost provinces from the contending sons of Bajazet. To him succeeded his son John, Palaeologus II whom Amurath II stripped of all his territories except Constantinople, and laid under tribute in 1444.
To the Emperor John succeeded his brother Constantine Palaeologus. With the assistance of his general Giustiniani, a Genoese, he withstood the superior forces of the enemy with fruitless courage, and fell in the defence of Constantinople, by the conquest of which on May the 29th, 1453 Mohammed II put an end to the Greek or Byzantine Empire. The Byzantine Empire, which thus lasted for over a thousand years, stemmed the tide of the advance of Islam and instead spread Christianity and maintained a regular system of government, law, and policy in the midst of surrounding conflicting systems. Research Byzantine Empire
Chinaware is a name given to porcelain (pottery made from kaolin), so called from China being the first country to supply it to Europeans. It is thought that the Chinese produced porcelain from ancient times, but it wasn't until around 500 AD that they perfected the art. Chinaware first came to Europe in the beginning of the 16th century and won immediate popularity for its beauty and novelty.
The European consumers thought it impossible to match the whiteness of Chinaware, until John Frederick of Saxony, an alchemist, discovered a means of producing a porcelain equal in whiteness to the Chinaware. This led to the establishment by the Government of a factory at Meissen which started to produce porcelain rivalling the Chinaware in beauty and quality.
In France also about the middle of the 18th century the celebrated factory at Sevres was set up and soon acquired a great renown. In England a porcfaiain work was established at Chelsea some years prior to 1745; it was made at Stratford-le-Bow about the same time, at Derby as early as 1750, at Worcester in 1751. About 1755 kaolin or porcelain clay was discovered in Cornwall, and this contributed greatly to improve the quality of English porcelain, which began to be largely manufactured in Staffordshire under the auspices of Josiah Spode and Thomas Minton.
Chinaware, when broken, presents a granular surface with a compact, dense, firm, hard, vitreous and durable texture. It is semi-transparent, with a covering of white glaze, clear, smooth, unaffected by all acids except hydroflouric acid, and able to withstand sudden changes of temperature. Research Chinaware
The dissolution of the monasteries in England was carried out by Henry VIII between 1535 and 1539. This was an attack on Church property for three reasons. First, the monks were the main supporters of the Papal authority in England, and they were members of orders which were spread over Europe. It had proved possible to separate the English bishops and clergy from allegiance to the Pope; this was not possible with the monastic orders, which were international, not insular, institutions. The second reason was the wealth of the monasteries, which was the result of the pious bequest of many centuries. The cry against monastic wealth had been raised many times previously in English history, particularly by John Wycliffe and others from the time of Edward III and Richard II. The courtiers of Henry VIII and the rising middle class were greedy for land, and Henry VIII saw that by ministering to their greed he could make his new nobility and their new property a firm support of his Reformation. The third reason for ending the monasteries was
the reason given to Parliament: that the monks had outlived their day of usefulness and were abandoned to idleness and vice. There were over 600 religious houses in England, and no doubt there was some truth in this charge. Zealous churchmen had long known that all was not well with these ancient institutions. In Henry VII's reign the Oxford Reformers had rebuked monkish follies, and CardinalMorton had noted the 'incurable uselessness' of many of the smaller houses where the monks were idle and ignorant. CardinalWolsey had obtained a Papal Bull to visit the monasteries, and had begun to suppress some, intending to use their revenues for the benefit of education and the New Learning and to found new bishoprics. One of them, St. Frideswide's Priory at Oxford, he converted into Cardinal College (later Christ Church).
In 1535 Henry VIII made Thomas Cromwell his Vicar-General, 'with power to visit any monastery in England'. The character of Cromwell was sufficient guarantee that the visitation would not be conducted fairly. He knew what was expected of him; he was to be 'The Hammer of the Monks'. His agents hurried through England, visited some of the monasteries, and drew up an evil report. This report unfortunately no longer exists. Our only information is derived from Cromwell's note-books and from the letters of his agents, from which we may gather something of their methods. For example, Dr. Layton, vicar of Harrow-on-the-Hill, dashed through southern England from Gloucestershire to Rent between August and October 1535. He condemned monasteries wholesale, on insufficient evidence, although at the same time he did not scruple to accept bribes from some, or to help himself to plate and jewels from others.
However, Parliament was satisfied, and the country squires, anxious for the 'goods of the Church', shouted ' Down with them!' The Act dissolving 276 of the lesser monasteries of England in 1536 was the last important Act of the Reformation Parliament. In dissolving the smaller monasteries first, Henry VIII had cautiously tested his power. But his violent measures had by 1536 caused grave discontent, especially in the west and north, and in Parliament itself. His wholesale destruction of the smaller monasteries was followed by two popular uprisings. The first occurred in Lincolnshire, where the rebels were crushed by a military force under the Duke of Suffolk. The second rising, in Yorkshire in 1536, known as the Pilgrimage of Grace, was much more serious. The following year the famous shrine of Becket at Canterbury was attacked. Thomas Becket was declared in April 1538 'a false saint and a traitor to the Supreme Head of the Church'; his bones were burnt; his shrine pillaged and its offerings confiscated.
Then Henry VIII was ready to turn his attention to the greater monasteries, although Parliament had saved them earlier because of their good conduct. Cromwell and his agents in 1539 began a persecution of the abbots: many were induced to surrender their abbeys to the king; others could only be reduced by methods of terror. The Abbots of Reading and Colchester were tried for treason; the Abbot of Glastonbury for felony. All three were executed. The odious methods of Cromwell are well shown in some notes left in his own handwriting: 'To see that the evidence be well sorted and the indictments well drawn against the said abbots. The Abbot of Reading to be sent down to be tried and executed at Reading with his accomplices. The Abbot of Glaston to be tried at Glaston, and also executed there with his accomplices.' The last Abbot of Glastonbury, a pious, venerable man beloved in the countryside, was executed with two of his brethren on GlastonburyTor, after a mock trial in November 1539. These ferocities had the desired effect: many less brave spirits gave in, and soon there were no monasteries left. The dissolution of 616 religious houses was the greatest revolution in the ownership of land in England since the Norman Conquest. The monastic income has been variously estimated at between one-fifth and one-third of the total rental of England.
This newly acquired wealth the king might have used in developing public works, such as education. Some of it was spent in re-building the Navy; but the king's own greed and the greed of courtiers swallowed most of the spoil. A thousand newly enriched families became the nobility on which Henry in future relied for support. The 'Abbey' where the descendants or successors of these Tudor families now live is a name to be found in many an English village. But sad indeed was the fate of the original buildings. Some, like the great church at Tewkesbury, have been preserved in the form of parish churches; others have been partly preserved to form cathedrals. But the greater number were ruthlessly destroyed by their new possessors, their roofs despoiled for the valuable lead, their walls made quarries for new buildings, their treasures scattered, and their ruins left desolate. Whatever defence may be made for the suppression of the monastic orders, no excuse can be offered for this orgy of destruction, which deprived England of some of her noblest monuments.
It is probable that at least 15000 persons were cast adrift. These people went to swell the already large number of the unemployed, for whom Tudor statesmanship could find no better relief than the savage punishments inflicted on thieves and vagabonds. Some of the monks were given benefices or pensioned by the Government, but the pensions were not always paid; the occupants of the lesser houses fared worse than those of the greater. The hospitality which the monks had always given to the poor was now removed. There was nothing to take its place, and many monks and nuns joined the ranks of those who had formerly subsisted on their charity. Many gaps were left in national life, for the abbeys, said Aske 'were one of the beauties of this realm to all men and strangers passing through the same; all gentlemen much succoured in their needs with money, and in nunneries their daughters brought up in virtue. And such abbeys as were near the danger of seabanks were great maintainers of sea-walls and dykes, builders of bridges and highways, and such other things for the commonwealth.' Research Dissolution of the Monasteries
Engraving is the art of representing objects and depicting characters on metal, wood, precious stones, etc, by means of incisions made with instruments variously adapted to the substances operated upon and the description of work intended.
Impressions from metal plates are named engravings, prints, or plates those printed from wood being called indifferently wood engravings and wood-cuts. While, however, these impressions are not altogether dissimilar in appearance, the processes are distinct. In plates the lines intended to print are incised, and in order to take an impression the plate is daubed over with a thick ink which fills all the lines. The surface is then wiped perfectly clean, leaving only the incised lines filled with ink. A piece of damp paper is now laid on the face of the plate, and both are passed through the press, which causes the ink to pass from the plate to the paper. This operation needs to be repeated for every impression, for the wood block, on the contrary, the spaces between the lines of the drawing are cut out, leaving the lines standing up like type, the printing being from the inked surface of the raised lines, and effected much more rapidly than plate printing.
Engraving on wood, intended for printing or taking impressing from, long preceded engraving on metals. The art is of eastern origin, and at least as early as the 10th century engraving and printing from wood blocks was common in China. We first hear of wood engraving being cultivated in Europe by the Italians and Germans in the 13th century. For a hundred and fifty years, however, there is small indication of the practice of the art, which was at first confined to the production of block-books, playing cards, and religious prints. In the 15th century the art of printing from engraved plates was discovered in Florence by Maso Finiguerra.
Engraving had long been used as a means of decorating armour, metal vessels, etc, the engravers generally securing duplicates of their works before laying in the niello (a species of metallic enamel) by filling the lines with dark colour, and taking casts of them in sulphur. The discovery of the practicability of taking impressions upon paper led to engraving upon copper plates for the purpose of printing from.
The date of the earliest known niello proof upon paper is 1452. The work of the Florentine engravers, however, was almost at once surpassed in Venice and elsewhere in North Italy by Andrea Mantegna, Girolamo Mocetto, Giovanni Batista del Porto, and others. In Marc Antonio Raimondi, who wrought under the guidance of Raphael, and reproduced many of his works, the art reached its highest point of the earlier period, and Rome became the centre of a new school, which included Marco da Ravenna, Giulio Bonasone, and Agostino de Musis.
In the meantime, in Germany the progress of the art had been not less rapid. Of the oldest school the most important engraver is Martin Schongauer. He was, however, surpassed a generation later by Albert Durer who excelled both in copper and wood engraving, especially in the latter. Among his most famous contemporaries and successors were Burgkmair and Lucas Cranach. The Dutch and Flemish schools, of which Durer's contemporary Lucas van Leyden was the head, did much to enlarge the scope of the art, either by paying increased attention to the rendering of light and shade, and the expression of local colour, as in the case of Cornelius Cort and Bloemart; or by developing freedom and expression of line, as in the case of Goltzius and his pupils.
Rubens influenced engraving through the two Bolswerts, Vorstermann, Pontius, and de Jode, who engraved many of his works on a large size. Towards the end of the 17th century etching, which had before been rarely used, became more common, and was practised with great success by Rembrandt and other painters of that period. In France Noel Garnier founded a school of engraving about the middle of the 16th century; but it produced no work of any high distinction until the reign of Louis XIV, when Nanteuil's pupil Gerard Edelinck and Gerard Audran flourished. The former was skilled in using his graver to produce colour effects, the latter is famed for his engravings from Nicolas Poussin and Le Brun. But these were all surpassed about the middle of the 18th century by Wille, a German resident in Paris.
Before the middle of the 17th century England produced little noteworthy work, availing herself principally of the work of foreign engravers, of whom many took up temporary and even permanent residence. The first English engraver of marked importance was William Hogarth, whose works are distinguished for character and expression. Vivares, a Frenchman by birth, laid the foundation of the English school of landscape-engraving, which was still further developed by William Woollet, who was also an excellent engraver of the human figure.
In historical engraving a not less remarkable advance was made by Sir Robert Strange, and Richard Earlom produced some admirable works in mezzotint. In succession to these came William Sharp, James Bazire, Bartolozzi, James Heath, Bromley, Raimbach, and others.
The substitution of steel for copper plates around 1820 to 1830 gave the power of producing a much larger number of fine impressions, and opened new possibilities for highly-finished work.
During the closing years of the 18th century line engraving attained a depth of colour and fulness of tone in which earlier works generally are deficient, and during the following century it reached a perfectness of finish which it had not previously attained. A picture, whether figure or Landscuape, may be translated by line engraving with all its depth of colour, delicacy of tone, and effect of light and shade; the various textures, whether of naked flesh, silk, satin, woollen, or velvet, all successfully rendered by ingenious modes of laying the lines and combinations of lines of varying strength, width, and depth. Among engraverswho have produced historical works of large size and in the line manner the names of Raphael Mrghen, Longhi, Anderloni, Garavaglia, and Toschi, in Italy; of Forster, Henriquel-Dupont, Bridoux, and Blanchard, in France; of John Burnet, J H Robinson, Doo, J H Watt, and Lumb Stocks, in England, stand pre-eminent.
Among historical and portrait engravers in the stipple or dotted manner the names of H T Ryall, Henry Robinson, William Holl and Francis Holl, may well be mentioned.
In the period 1820 to 1860 landscape engraving attained a perfection in Great Britain which it had not attained in any other country, or at any other time. Among landscape engravers the names of George Gooke, William Miller, E Goodall, J Cousen, K Brandard, and William Forrest hold the foremost places. In mezzotinto engraving Samuel Cousins is unrivalled.
In the period 1830 to 1845 various publications called Annuals, composed of light literature in prose and verse, and illustrated by highly-finished engravings in steel, were very popular. The engravings were necessarily of small size, and are generally of great excellence. A number of them both figure and landscape are executed with such finish and completeness as to be esteemed perfect works. The unrivalled illustrations of Rogers' Poems and Rogers' Italy after Turner and Stothard belong to this period. Many of the originals of the engravings in the Annuals were finished pictures of large size.
A great part of the difficulty in engraving on a small scale from a large picture, consists in determining what details can be left out, and still preserve the full effect and character of the original. The most noted engravers for work of small size are Charles Heath, Charles Bolls, W Finden, E Finden, E. Portbury, J Goodyear, F Engleheart, Henry Le Keux, E Goodall, and W Miller.
After 1870 many plates were produced by a combination of etching and dry point, a comparatively cheap and rapid process. Such works were fashionable and very popular with collectors. But while some of them have been excellent of their kind, the process is of limited resource, and the best works in this manner will not stand comparison with the masterpieces of line engraving. Through lack of encouragement, change of fashion, and the adoption of other methods of reproduction such as photography, line engraving rapidly becoming a lost art in Great Britain. The men who made line engraving famous died, and there was no sufficient inducement for younger men to pursue that art. In France and in Germany some able line engravers were still in practice at the start of the 20th century.
Line Engraving, as implied by the term, is executed entirely in lines. The tools are few and simple. They consist of the graver or burin, the point, the scraper, and the burnisher; an oil-stone or hone, dividers, a parallel square, a magnifying lens; a bridge on which to rest the hand; a blind or shade of tissue paper, to make the light fall equally on the plate, callipers for levelling important erasures, a small steelanvil, a small pointed hammer, and punches. In etching, the following articles are required: a resinous mixture called etching-ground, capable, when spread very thinly over the plate, of resisting the action of the acids used; a dauber for laying the ground equally; a hand-vice; some hair-pencils of different sizes, and bordering wax, made of burgundy-pitch, bees'-wax, and a little oil.
In engraving, the plate, which is highly polished and must be free from all scratches, is first prepared by spreading over it a thin layer of ground. The surface is then smoked, and the outline of the picture transferred to it by pressure from the paper on which it has been drawn in fine outlines by a black-lead pencil. The picture is then drawn on the ground with the etching-needle, which removes the ground in every form produced by it, and leaves the bright metal exposed. A bank of wax is then put round the plate and diluted acid poured on it, which eats out the metal from the lines from which the ground has been removed, but leaves the rest of the plate untouched. The plate is then gone over with the graver, the etched lines clearly defuned, broken lines connected, new lines added, etc. Sometimes the plate is rebitten more than once, those parts which are sufficiently bitten in the first treatment being stopped with varnish, and only the selected parts exposed to after-biting. Finally the burnisher is brought into play alternately with the graver and point to give perfectness and finish.
Such is the process for landscape engraving. In historical and portrait engraving of the highest class, the lines are first drawn on the metal with a fine point and then cut in by the graver, first making a fine line and afterwards entering and re-entering till the desired width and depth of lines is attained. Much of the excellence of such engravings depends on the mode in which the lines are laid, their relative thickness, and the manner in which they cross each other. In historical engraving etching is but little used, and then only for accessories and the less important parts.
In Soft-ground Etching the ground, made by mixing lard with common etching-ground, is laid on the plate and smoked as before, but its extreme softness renders it very liable to injury. The outline of the subject is drawn on a piece of rough paper larger than the plate. The paper is then damped, and laid gently over the ground face upwards, and the margins folded over and pasted down on the back of the plate. When the paper is dry and tightly stretched the bridge is laid across, and with a hardish pencil and firm pressure the drawing is completed in the usual manner. The pressure makes the ground adhere to the back of the paper at all parts touched by the pencil, and on. the paper being lifted carefully off, these parts of the ground are lifted with it, and the corresponding parts of the plate thus left bare are exposed to the subsequent action of the acid. The granulated surface of the paper, causing similar granulations in the touches on the ground, gives the character of a chalk-drawing. The biting-in is effected in the same manner as already described, and the subject is finished by re-biting and dotting with the graver.
Stipple, or Chalk Engraving, in its pure state, is exclusively composed of dots, varying in size and form as the nature of the subject demands, but few stipple plates are now produced without a large admixture of line in all parts, flesh excepted. A great advance, however, was made in stipple engraving by the introduction of large and varied forms of dotting in the draperies, the results almost rivalling line engraving in richness and power.
The Mixed Style is based on mezzotinto, which, still forming the great mass of shading, is in this method combined with etching in the darker, and stipple in the more delicate parts. By this combination a plate will produce a larger number of good impressions than were it done entirely in mezzotinto.
The wood best adapted for engraving is box. It is cut across the grain in thicknesses equal to the height of type, these slices being subjected to a lengthened process of seasoning, and then smoothed for use. Every wood engraving is the representative of a finished drawing previously made on the block; the unshaded parts being cut away, and the lines giving form, shading, texture, etc, left standing in relief by excavations of varied size and character, made between them by gravers of different forms. Drawings on wood are made either with black-lead pencil alone or with pencil and indian ink, the latter being employed for the broader and darker masses. It is now much the practice to photograph drawings made in black and white upon the wood instead of making the drawing on the wood block. When the drawing is put on the wood by washes or by photography instead of being entirely done by pencil lines, the engraver has to devise the width and style of lines to be employed instead of cutting in facsimile, as is the case when the drawing is made entirely in lines. The tools required for wood engraving are similar but more numerous than those of the engraver on copper or steel. Research Engraving
Ethics (from the Greek ethikos, 'dealing with nature'), in philosophy, can roughly be characterised as dividing into three parts: normative ethics; practical ethics; and meta-ethics. Normative ethics is the study of general normative principles or virtues. There are various doctrines concerning general normative principles. Altruists hold that when deciding how to act one ought to take the interests of others into account, as well as one's own. Hedonists hold that one ought to pursue only pleasure or happiness for oneself and others. The Golden Rule states that one should act towards others-as one wants them to act towards oneself. Consequentialists believe that one ought to do whatever will have the best consequences. (Utilitarianism, the doctrine that one ought to do whatever will maximise well-being or happiness is one version of consequentialism). Deontologists hold that the rightness or wrongness of actions is a matter of how they accord with moral rules, not of their consequences.
One must obey the rule that one ought to tell the truth, even if the consequences of breaking the rule would be better. Others hold that rightness or wrongness cannot be captured by a set of moral rules at all, and that it is not simply the consequences of an action which determine its moral status. Rather, one ought to be a virtuous person, one who has certain emotional reactions to various situations, reactions which lead one to behave in ways which are virtuous, honest, generous or kind. Practical ethics is the study of specific, practical ethical problems such as abortion, euthanasia, war and out treatment of animals. Clearly, the study of practical ethical issues is not independent of the study of general normative principles. General normative principles have implications for specific practical ethical problems, so acceptance of a general normative principle may lead one to change one's opinions about a specific practical issue, and one's firm conviction concerning a specific practical issue may lead one to see the failing of a general normative principle.
Meta-ethics is not concerned with which moral principles which we should follow, or how they relate to specific practical problems, but investigates abstract conceptual and metaphysical issues which arise for any moral principle. One meta-ethical claim is that any moral judgement concerning a particular is universal to all similar particulars. Emotivism claims that moral judgements are simply expressions of emotions. Descriptivism claims that moral terms are purely descriptive. Prescriptivism claims that moral terms have two independent components of meaning: descriptive and evaluative. Ethical relativism is the doctrine that moral judgements are true or false only relative to a particular context. Some hold that murder is wrong because God has commanded us not to commit murder. Ethical Intuitionism is the doctrine that there is a special faculty of moral intuition which gives us access to moral facts, to facts about how we ought to behave. The naturalistic fallacy is the supposed fallacy of inferring an 'ought' from an 'is': the issue
being whether ethics is objective or subjective. Research Ethics
Hansard was a firm of printers in London, which long printed the parliamentary debates and papers. The founder of the business was Luke Hansard, who, in 1800, became printer to the House of Commons. The reports of speeches printed were extracted from the London newspapers, but were generally sent to the speakers for revision. The name is still retained for the reports now otherwise furnished. Research Hansard
Hurdles are frames formed of perpendicular stakes with horizontal bars, and braced with diagonal pieces for the purpose of forming temporary fences. In fortification the name was given to a collection of twigs or sticks closely interwoven and sustained by long stakes, serving to render works firm, or to cover traverses and lodgements for the defence of workmen against fireworks or stones. Research Hurdles
A knife is a cutting instrument, which in its simplest form comprises a blade with one long edge sharpened, fitted into a handle. A typical household knife is comprised of a blade, fitted into a handle separated by a bolster, and may be of one of three basic designs: back pointed, cutting edge pointed or tip pointed, with a smooth, scalloped or serrated cutting edge, all of which are suited to varying tasks. Scalloped edged blades are suited for cutting soft food which have a hard or firm peel such as bread or bacon. Serrated edged blades perform with a sawing action and facilitate a first cut and are suitable for cutting soft and tough foods such as tomatoes and also cooked steaks. Research Knife
A millstone is one of a pair of circular stones that are used for grindinggrain or other substances. The surface of a millstone usually has a series of radial grooves in which the powdered material collects, and the stones are generally buhrstone or some kind of lava, such as Niedermendig, or another other firm rock with rough texture. Milling grain with stones introduces small quantities of stone into the flour, and this helps to accelerate the rate at which the teeth of consumers of such flour are worn away. Research Millstone
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Ballast
