Auto da fe (Act of Faith) was the ritual execution of heretics by the Inquisition after a confession had been extracted. The ceremony always took place on a Sunday, but not at regular intervals, maybe once every two, three or four years. The victims were walked in procession wearing the sanbenito, the coroza, the rope around the neck, and carrying a yellow waxcandle in their hand. The sanbenito was a penitential tunic of yellow cloth reaching to the knees and painted on it was a picture of the person who wore it, burning in flames with figures of dragons and devils in the act of fanning the flames. The costume indicated to the watching crowds the wearer was to be burned alive as an incorrigible heretic. If the person was only to do penance, then the sanbenito had on it a cross, and no painting or flames. If the victim was converted just before being led out, then the sanbenito was painted with the flames downward (known as fuego resuelto) and indicated that the wearer was not to be burned alive, but to be first strangled before burning.
At one time the sanbenito were hung up in the churches as monuments to the Inquisition. The coroza was a pasteboard cap, one metre high, ending in a point. On it were likewise painted crosses, flames and devils. Gags were kept on hand in case a victim insulted the tribunal or revealed what had occurred to them as they were led along to the place of execution where a large scaffold was erected.
The stake where the victim was to be burned varied in form, and was either a simple stake mounted in the ground, or was about three metres tall, with a small board near the top where the victim sat and was chained to the stake. Following prayers and attempts to convert the victim to the Roman Catholic faith, burning furzes were thrust into the face until the victim's face was burned before furzes around the base of the stake were ignited and the victim burned to death.
Victims were burned, because the inquisitors were forbidden to 'shed blood', the Roman Catholic church maintaining the line that it is untainted with blood. Research Auto da Fe
In mines, a brattice is a partition of light wood or canvas which divides a shaft or underground roadway in two, and furnishes a means of conducting ventilation to the working face. Research Brattice
Capital punishment is punishment by death. Capital punishment is retained in 92 countries and territories, including the 37 states of the USA, China, and Islamic countries. It was abolished in the UK in 1965 for all crimes except treason - in 1998 the death penalty for treason was finally abolished in the United Kingdom. Methods of execution include electrocution, lethal gas, hanging, shooting, lethal injection, garrotting, and decapitation. In Britain, the number of capital offences was reduced from over 200 at the end of the 18th century, until capital punishment was abolished in 1866 for all crimes except murder, treason, piracy, and certain arson attacks. Its use was subject to the royal prerogative of mercy. The punishment was carried out by hanging (in public until 1866).
The improvement in the penal laws of Europe in respect to the reduction of capital punishment may be traced in large part to the publication of Beccaria's treatise on Crimes and Punishments (Dei Delitti e delle Pene) in 1764. At that time in England, as Blackstone a year later pointed out with some amount of feeling, there were 160 capital offences in the statute book. The work of practical reform was initiated in 1770 by Sir William Meredith, who moved for a committee of inquiry into the state of the criminal laws; but the modifications secured by it were few, owing to the opposition of the House of Lords, which continued down to 1832 to oppose systematically all attempts at criminal law reform.
The publication of Madan's Thoughts on Executive Justice, in 1784, urging the stricter administration of the law as it then stood, brought out the opposition of Sir Samuel Romilly, who replied to it in 1785, and introduced at short intervals a series of bills for the abolition of the extreme sentence for minor offences. The influence of Paley and LordEllenborough, and the reaction from the revolutionary principles, which prior to the French Revolution had inaugurated great penal changes in France, told strongly against his efforts; and even his Shoplifting Act, to abolish the sentence of death in cases of theft to the value of five shillings, was resolutely rejected, though passed by the Commons in 1810, 1811, 1813, and 1816. Romilly's work was taken up by Sir James Mackintosh in 1820, and under Peel's ministry with greater success. At his death, however, in the year of the passage of the Reform Bill (1832) forty kinds of forgery with many less serious offences were still capital, though from that time the amelioration was rapid. In the five years following the Reform Act, the capital offences were reduced to 37, and subsequent changes left in 1861 only four capital charges - setting fire to H.M. dockyards or arsenals, piracy with violence, treason, and murder. By 1906 only treason and murder were capital offences in England, andScotland also, though robbery, rape, incest, and wilful fire-raising were still capital crimes in Scottish common law.
Prior to 1868 executions were conducted in public in England, but then in 1868 the law changed that all executions were to be conducted in private within the prison walls. Capital punishment for murder was abolished in the United Kingdom in 1965 but still exists for treason, and during the 1980's it was revealed that the police had a shoot-to-kill and summary execution policy for those suspected of being terrorists. In 2005 a 27 year old Brazilian man was executed by being shot seven times in the head and once in the shoulder after being tackled to the ground by plain clothed police officers who mistakenly believed him to be a suicide bomber.
In 1990, Ireland abolished the death penalty for all offences. In Saudi Arabia execution is by beheading in public. Countries that have abolished the death penalty fall into three categories: those that have abolished it for all crimes (44 countries); those that retain it only for exceptional crimes such as war crimes (17 countries); and those that retain the death penalty for ordinary crimes but have not executed anyone since 1980 (25 countries and territories).
The first country in Europe to abolish the death penalty was Romania in 1864, followed by Portugal in 1867, Holland in 1870, and by Switzerland in 1874. In the USA, the Supreme Court declared capital punishment unconstitutional in 1972, as a cruel and unusual punishment, but decided in 1976 that this was not so in all circumstances. It was therefore reintroduced in some states. Many countries use capital punishment for crimes other than murder, such as drug offences (in Malaysia and elsewhere). In 1977 the International Covenant on Civil and Political Rights ruled out imposition of the death penalty on those under the age of 18. The covenant was signed by President Carter on behalf of the USA, but in 1989 the US Supreme Court decided that it could be imposed from the age of 16 for murder, and that the mentally retarded could also face the death penalty. Research Capital Punishment
Death is that state of a being, animal or vegetable, but more particularly of an animal, in which there is a total and permanent cessation of all the vital functions, when the organs have not only ceased to act, but have lost the susceptibility of renewed action. Death takes place either from the natural decay of the organism, as in old age, or from derangements or lesions of the vital organs caused by disease or injury. The signs of actual death in a human being are the cessation of breathing and the beating of the heart; insensibility of the eye to light, pallor of the body, complete muscular relaxation, succeeded by a statue-like stiffness or rigidity which lasts from one to nine days; and decomposition, which begins to take place after the rigidity has yielded, beginning first in the lower portion of the body and gradually extending to the chest and face. What becomes of the mind or thinking principle, in man or animal, after death, is a matter of philosophical conjecture or religious faith. Research Death
Drowning means death by the air being prevented entering the lungs owing to the month and nostrils being immersed in a liquid, the liquid being commonly water. Death may, therefore, occur by drowning in a small quantity of water. Thus a child may fall head downwards into a tub and be drowned, though the tub is not half full of water, sufficient to cover the mouth and nostrils being all that is necessary, and an adult overcome by a fit or by drunkenness may fall on a road with their head in a ditch or pool of water, and drown. Death is thus due to suffocation, to the stoppage of breathing, and to the entrance of water into the lungs. When death has been caused by drowning, the skin presents the appearance called goose-skin (cutis anserina), the face and surface of the body generally are usually pale, a frothy liquid is found in the lungs and air-passages, and about the lips and nostrils; water may be found in the stomach, and clenched fingers, holding substances grasped at, may serve to show that a struggle has taken place in the water, and that the body was alive at the time of immersion.
Drowning was formerly a mode of capital punishment in Europe. The last person executed by drowning in Scotland was executed in 1685. In Ireland there was an execution by drowning so lately as 1777. Research Drowning
An eclipse is the interception or obscuration of the light of the sun, moon or other heavenly body by the intervention of another and non-luminous heavenly body. Stars and planets may suffer eclipse, but the principal eclipses are those of the sun and the moon.
An Eclipse of the Moon is an obscuration of the light of the moon occasioned by an interposition of the earth between the sun and the moon; consequently, all eclipses of the moon happen at full moon; for it is only when the moon is on that side of the earth which is turned away from the sun, and directly opposite, that it can come within the earth's shadow. Further, the moon must at that time be in the same plane as the earth's shadow; that is, the plane of the ecliptic in which the latter always moves. But as the moon's orbit makes an angle of more than 5 degrees with the plane of the ecliptic, it frequently happens that though the moon is in opposition it does not come within the shadow of the earth.
An Eclipse of the Sun is an occultation of the whole or part of the face of the sun occasioned by an interposition of the moon between the earth and the sun; thus all eclipses of the sun happen at the time of new moon. As the earth is not always at the same distance from the moon, and as the moon is a comparatively small body, if an eclipse should happen when the earth is so far from the moon that the moon's shadow falls short of the earth, a spectator situated on the earth in a direct line between the centres of the sun and moon, would see a ring of light round the dark body of the moon; such an eclipse is called annular; when this happens there can be no total eclipse anywhere, because the moon's umbra does not reach the earth. An eclipse can never be annular longer than 12 minutes 24 seconds, nor total longer than 7 minutes 58 seconds; nor can the entire duration of an eclipse of the sun ever exceed 2 hours.
An eclipse of the sun begins on the western side of his disc and ends on the eastern; and an eclipse of the moon begins on the eastern side of her disc and ends on the western. The average number of eclipses in a year is four, two of the sun and two of the moon; and as the sun and moon are as long below the horizon of any particular place as they are above it, the average number of visible eclipses in a year is two, one of the sun and one of the moon. Research Eclipse
Enamel is a vitreous glaze of various colours fused to the surface of gold, silver, copper, and other substances. The art of enamelling, which is of great antiquity, was practised by the Assyrians and by the Egyptians, from whom it may have passed into Greece, and thence into Rome and its provinces, including Great Britain, where various Roman antiquities with enamelled ornamentation have been discovered. The enamelled gold cup given by King John to the corporation of Lynn, in Norfolk, proves that the art was known among the Normans. The Byzantines of the 10th century produced excellent cloisonne enamels on a gold base, the cloisonne process consisting in tracing the design in fillets of gold upon the gold plate and filling up the small moulds thus formed with enamels the design appearing in coloured enamels separated by thin gold partitions or cloisons. In some cases, however, the enamels were filled into hollows beaten out in the gold plate, which formed part of the field.
In the 12th century the town of Limoges acquired the high reputation for inlaid enamels which it held until the 14th century, aud re-acquired in the 16th for its painted enamels. The costliness of the sculptured ground had led the Italians early in the 14th century to substitute the practice of incising the design on the face of the plate, and then covering it with a transparent enamel. The further step, which made the Limousin workshops famous, consisted in the method of superficial enamelling, in which opaque colours or colours laid on a white opaque ground were used. The Limoges school degenerated greatly in the 17th century, but its method with certain modifications in detail is still employed.
The basis of all kinds of enamel is a perfectly transparent and fusibleglass, which is rendered either semitransparent or opaque by the admixture of metallic oxides. White enamels are composed by melting the oxide of tin with glass, and adding a small quantity of manganese or phosphate of calcium to increase the brilliancy of the colour. The addition of the oxide of lead, or antimony, or oxide of silver, produces a yellow enamel. Reds are formed by copper, and by an intermixture of the oxides of gold and iron. Greens, violets, and blues are formed from the oxides of copper, cobalt, and iron.
In the middle of the 18th century enamelling was largely applied to the decoration of snuff-boxes, tea-canisters, candlesticks, and other small articles. Of later years it was extensively applied to the coating of iron vessels for domestic purposes, the protection of the insides of baths, cisterns, and boilers, and the like. Enamelling in colours upon iron was common, iron plates being thus treated by means of various mixtures, and words and designs of various kinds being permanently fixed upon them by stencilling, for advertising, signboards, etc.
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
A face mold is a template or pattern used by carpenters, and the like, to outline the forms which are to be cut out from boards, sheet metal, etc. Research Face Mold
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Auto da Fe
