An abbey is a monastery or religious community of the highest class, governed by an abbot, assisted generally by a prior, sub-prior, and other subordinate functionaries; or, in the case of a female community, superintended by an abbess. An abbey invariably included a church. A priory differed from an abbey only in being scarcely so extensive an establishment, and was governed by a prior. In the English conventual cathedral establishments, as Canterbury, Norwich, Ely, etc, the archbishops or bishops held the abbot's place, the immediate governor of the monastery being called a prior.
Some priories sprang originally from the more important abbeys, and remained under the jurisdiction of the abbots; but subsequently any real distinction between abbeys and priories was lost. The greater abbeys formed most complete and extensive establishments, including not only the church and other buildings devoted to the monastic life and its daily requirements, such as the refectory or eating-room, the dormitories or sleeping-rooms, the room for social intercourse, the school for novices, the scribes' cells, library, and so on; but also workshops, storehouses, mills, cattle and poultry sheds, dwellings for artisans, labourers, and other servants, infirmary, guest-house, etc. Among the most famous abbeys on the continent of Europe were those of Cluny, Clairvaux, and Citeaux in France; St Galle in Switzerland, and Pulda in Germany; the most noteworthy English abbeys were those of Westminster, St Mary's of York, Fountains, Kirkstall, Tintern, Rievaulx, Netley; and of Scotland, Melrose, Paisley, and Arbroath. Research Abbey
In law, action is the mode of seeking redress for any wrong, injury, or deprivation. Actions are divided into civil and criminal, the former again being divided into real, personal, and mixed.
Aesthetics is the philosophy of the beautiful; the name given to the branch of philosophy or of science which is concerned with that class of emotions, or with those attributes, real or apparent, of objects generally comprehended under the term beauty, and other related expressions. The term aesthetics first received this application from Baumgarten (1714-1762), a German philosopher, who was the first modern writer to treat systematically on the subject, though the beautiful had received attention at the hands of philosophers from early times. Socrates, according to Xenophon, regarded the beautiful as coincident with the good, and both as resolvable into the useful. Plato, in accordance with his idealistic theory, held the existence of an absolute beauty, which is the ground of beauty in all things. He also asserted the intimate union of the good, the beautiful, and the true.
Aristotle treated of the subject in much more detail than Plato, but chiefly from the scientific or critical point of view. In his treatises on Poetry and Rhetoric he lays down a theory of art, and establishes principles of beauty. His philosophical views were in many respects opposed to those of Plato. He does not admit an absolute conception of the beautiful; but he distinguishes beauty from the good, the useful, the fit, and the necessary. He resolves beauty into certain elements, as order, symmetry, definiteness. A distinction of beauty, according to him, is the absence of lust or desire in the pleasure it excites. Beauty has no utilitarian or ethical object; the aim of art is merely to give immediate pleasure; its essence is imitation. Plotinus agrees with Plato, and disagrees with Aristotle, in holding that beauty may subsist in single and simple objects, and consequently in restoring the absolute conception of beauty. He differs from Plato and Aristotle in raising art above nature.
Baumgarten's treatment of aesthetics is essentially Platonic. He made the division of philosophy into logic, ethics, and aesthetics; the first dealing with knowledge, the second with action (will and desire), the third with beauty. He limits aesthetics to the conceptions derived from the senses, and makes them consist in confused or obscured conceptions, in contradistinction to logical knowledge, which consists in clear conceptions. Kant defines beauty in reference to his four categories, quantity, quality, relation, and modality. In accordance with the subjective character of his system he denies an absolute conception of beauty, but his detailed treatment of the subject is inconsistent with the denial. Thus he attributes a beauty to single colours and tones, not on any plea of complexity, but on the ground of purity. He holds also that the highest meaning of beauty is to symbolize moral good, and arbitrarily attaches moral characters to the seven primary colours. The value of art is mediate, and the beauty of art is inferior to that of nature.
The treatment of beauty in the systems of Schelling and Hegel could with difficulty be made comprehensible without a detailed reference to the principles of these remarkable speculations. English writers on beauty are numerous, but they rarely ascend to the heights of German speculation. Shaftesbury adopted the notion that beauty is perceived by a special internal sense; in which he was followed by Hutcheson, who held that beauty existed only in the perceiving mind, and not in the object. Numerous English writers, among whom the principal are Alison and Jeffrey, have supported the theory that the source of beauty is to be found in association - a theory analogous to that which places morality in sympathy. The ability of its supporters gave this view a temporary popularity, but its baselessness has been effectively exposed by successive critics. Dugald Stewart attempted to show that there is no common quality in the beautiful beyond that of producing a certain refined pleasure; and Bain agrees with this criticism, but endeavours to restrict the beautiful within a group of emotions chiefly excited by association or combination of simpler elementary feelings. HerbertSpencer has a theory of beauty which is subservient to the theory of evolution. He makes beauty consist in the play of the higher powers of perception and emotion, denned as an activity not directly subservient to any processes conducive to life, but being gratifications sought for themselves alone. He classifies aesthetic pleasures according to the complexity of the emotions excited, or the number of powers duly exercised; and he attributes the depth and apparent vagueness of musical emotions to associations with vocal tones built up during vast ages. Among numerous writers who have made valuable contributions to the scientific discussion of aesthetics may be mentioned Winckelmann, Lessing, Bichter, the Schlegels, Gervinus, Helmholtz, and Kuskin. Research Aesthetics
In law, affinity is that degree of connection which subsists between one of two married persons and the blood relations of the other. It is no real kindred (consanguinity). A person cannot, by legal succession, receive an inheritance from a relation by affinity; neither does it extend to the nearest relations of husband and wife so as to create a mutual relation between them. The degrees of affinity are computed in the same way as those of consanguinity or blood. All legal impediments arising from affinity cease upon the death of the husband or wife, excepting those which relate to the marriage of the survivor. Research Affinity
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
An artificial person is a person whose identity is recognised by the law but who is not an individual. For example, a company is a person in the sense that it can sue and be sued, hold property, etc. in its own name. It is not, however, an individual or real person. Research Artificial Person
A barrier is something, either real or immaterial, that obstructs or prevents one thing from accessing another thing. A fence is a barrier in that it obstructs people from accessing what is on the opposite side of the fence. A cattle grid is a barrier to cloven-hooved animals, precenting their passage over the grid, while allowing vehicles and other animals free passage. Barrier creams are substances which prevent germs, water, the sun's rays or other substances from reaching the skin or a wound. In abstract terms, language can be a barrier to communication, if two people do not speak a common language then communication between them is seriously impaired and obstructed. Research Barrier
Bestiaties (Bestials) were books of the eleventh, twelfth and thirteenth century describing all sorts of animals, real and fabled, and forming a species of mediaeval encyclopedia of zoology. The books contained pictures of animals and described their symbolism. These books were very popular. The volumes are to be found both in Latin and in the vernacular, in prose and in verse. Research Bestiaries
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Abbey
