Allegory is a figurative representation in which the signs (words or forms) signify something besides their literal or direct meaning. In rhetoric allegory is often but a continued simile. Parables and fables are a species of allegory. Sometimes long works are throughout allegorical, as Spenser's Faerie Queene and Bunyan's Pilgrim's Progress. When an allegory is thus continued it is indispensable to its success that not only the allegorical meaning should be appropriate, but that the story should have an interest of its own in the direct meaning apart from the allegorical signification. Allegory is often made use of in painting and sculpture as well as in literature. Research Allegory
An altar is a pile or structure raised above the ground for receiving sacrifices to some divinity. The Greek and Roman altars were various in form, and often highly ornamental; in temples they were usually placed before the statue of the god. In the Jewish ceremonial the altar held an important place, and was associated with many of the most significant rites of religion. Two altars were erected in the tabernacle in the wilderness, and the same number in the temple, according to instructions given to Moses in MountSinai. These were called the altar of burnt-offering and the altar of incense. In some sections of the Christian church the communion-table, or table on which the eucharist is placed, is called an altar. In the primitive church it was a table of wood, but subsequently stone and metal were introduced with rich ornaments, sculpture, and painting. After the introduction of Gothic art the altar frequently became a lofty and most elaborate structure. Originally there was but one altar in a church, but latterly there might be several in a large church, the chief or high altar standing at the east end. Over an altar there is often a painting (an altar-piece), and behind it there may be an ornamental altar-screen separating the choir from the east end of the church. Lights are often placed on or near the altar. Research Altar
In sculpture, a bust is the representation of that portion of the human figure which comprises the head and the upper part of the body. During the literary period of Greece the portrait busts of the learned formed an important branch of art, and in this way we come to possess faithful likenesses of Socrates, Plato, Demosthenes, etc, in which the artists show great power of expressing the character of those represented. The number of busts belonging to the time of the Roman Empire is very considerable, but those of the Roman poets and men of letters have not been preserved in nearly so large numbers as those of the Greeks. The first bust that can be depended upon as giving a correct likeness is that of Scipio Africanus the elder. Research Bust
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.
In sculpture, a colossus is a statue of enormous magnitude. The Asiatics, the Egyptians, and in particular the Greeks, have excelled in these works. The most celebrated Egyptian colossus was the vocal statue of Memnon in the plain of Thebes, supposed to be identical with the most northerly of two existing colossi (60 feet high) on the west bank of the Nile.
Among the colossi of Greece the most celebrated was the Colossus of Rhodes, a brass statue of Apollo 70 cubits high, esteemed one of the wonders of the world, erected at the port of Rhodes by Chares, 290 or 288 BC. It was knocked down by an earthquake about 224 BC. The statue was in ruins for nearly nine centuries, when the Saracens, taking Rhodes, sold the metal, weighing 720,900 lbs, to a Jew, about 653. There is no authority for the popularly-received statement that it bestrode the harbour mouth, and that the Rhodian vessels could pass under its legs.
Among the colossi of Phidias were the Olympian Zeus and the Athena of the Parthenon; the former 60 feet high and the latter 40 feet.
The most famous of the Roman colossi were the Jupiter of the Capitol, the Apollo of the Palatine Library, and the statue of Nero, 110 or 120 feet high, and from which the contiguous amphitheatre derived its name of Colosseum.
Among modern works of this nature is the colossus of San Carlo Borromeo, at Arona, in the Milanese territory, 60 feet in height; the 'Bavaria' at Munich, 65 feet high; the statue of Hermann or Arminius near Detmold, erected in 1875, 90 feet in height to the point of the upraised sword, which itself is 24 feet in length; the height of the figure to the point of the helmet being 55 feet;
the statue of Germania, erected in 1883 near Rudesheim, a figure 34 feet high, placed on an elaborately-sculptured pedestal over 81 feet high; and Bartholdi's statue of Liberty presented to the United States by the French nation, and which measures 104 feet or to the extremity of the torch in the hand of the figure 138 feet. It is erected at New York harbour on a pedestal 114 feet, is constructed for a lighthouse with what was at one time was one of the most powerful fixed lights in the world, and stands 317 feet above mean tide. Research Colossus
In sculpture, demi-rilievo describes a half-relief, or the condition of a figure when it rises from the plane as if it had been cut in two and only one half fixed to the plane. Research Demi-Rilievo
Dilettante is an Italian expression, signifying a lover of the arts and science, who devotes his leisure to them as a means of amusement and gratification, being thus nearly equivalent to amateur. In 1734 a number of gentlemen founded in London a Dilettanti Society, which published a splendid work on Ionian Antiquities, 1769-1881 in four volumes; Specimens of Ancient Sculpture, 1809, 1835; etc. Research Dilettante
The Elgin marbles are a splendid collection of ancient Greek sculptures assembled by the 7th earl of Elgin and brought to England in 1812. The sculptures are chiefly from the Parthenon of Athens. Shortly after being brought to England they were cheaply purchased by parliament for the British Museum at the cost of 35,000 pounds. They consist of figures in low and high relief and in the round, representing gods, goddesses, and heroes; the combats of the Centaurs and Lapithaa; the Panathenaic procession, etc. They exhibit Greek sculpture at its highest stage, and were partly the work of Phidias. Research Elgin marbles
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Allegory
