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ALMONRY. Properly a closet or repository for the reception of broken victuals set apart as alms for the poor. It is more generally used to denote a house near the church in abbeys, or at their gates, provided with various offices for distributing the alms of the convent, and for the dwelling of the almoner.

ALMSHOUSE. A house devoted to the reception and support of poor persons, and generally endowed for a particular description of persons.

ALTAR. The name given to a flat stone found in Celtic erections.

ALTAR. (Lat. Altare.) A sort of pedestal whereon sacrifice was offered. According to Servius there was among the ancients a difference between the ara and altare, the latter being raised upon a substruction, and used only in the service of the celestial and superior divinities, whereas the former was merely on the ground, and appropriated to the service of the terrestrial gods. Altars to the infernal gods were made by excavation, and termed scrobiculi. Some authors have maintained that the ara was the altar before which prayers were uttered, and that the altare was used for sacrifices only. There is, however, from ancient authors no appearance of such distinctions, but that the words were used indiscriminately. The earliest altars were square polished stones, on which were placed the offerings to the gods. Whilst the sacrifice consisted only of libations, perfumes, and offerings of that nature, the altar was small, and even portable; when man, however, began to consider he was honouring the divinity by an offering of blood, the altar necessarily expanded in dimensions. Different forms of it were adopted, according to the nature of the sacrifice, and on it the throat of the victim was cut and the flesh burnt. Of this sort is the circular altar of the Villa Pamphili at Rome, one of the largest and most elegant of the class. On it appears the cavity for holding the fire, and the grooves for carrying off the blood. The varieties of altars were suitable in form, ornament, and situation to the service to which they were appropriated: some, as we have already observed, being for sacrifices of blood, others for receiving offerings and the sacred vessels; some for burning incense, others for receiving libations. Many were set up as mere monuments of the piety of a devotee, whilst others were raised to perpetuate some great event. They served for adjuration as well as for an asylum to the unfortunate and evil doer. In form they varied from square to oblong, and from triangular to circular. Those of metal were commonly tripodial. When of brick or stone their plan is generally square. According to Pausanias they were occasionally made of wood. They do not appear to have been of any regular standard height, for they are sometimes found on bassi relievi reaching but little above a man's knee, whereas in others they appear to reach his middle; but it seems that in proportion to its diameter the circular altar was generally the highest. Vitruvius says that they should not be so high as to intercept the statues of the gods, and he gives the relative heights of those used for different divinities. Thus, he says, those of Jupiter and the celestial gods are to be the highest; next, those of Vesta, and the terrestrial gods; those of the sea gods are to be a little lower, and so on. On festivals they were decorated with such flowers and leaves as were sacred to the particular divinity. But besides this casual decoration, the ancient altars furnish us with some of the most elegant bassi relievi and foliage ornaments that are known. According to Vitruvius, their fronts were directed towards the east, though very frequently but little regard was paid to their position, as they were occasionally placed under the peristyle of a temple, and not unfrequently in the open air. In the larger temples were often three different altars. The first was in the most sacred part, in front of the statue of the god; the second before the door of the temple; and the third (called anclabris) was portable, and on it the offerings and sacred vessels were placed.

stone, and composed of
supporting statues of the
dral of St. Alban's Abb
destroyed at the Refor
In many altar-screens a
priests, whose vestmente
ALTAR TOMB. A tomb of
the ground. On it is us
These effigies are often
ALTO RELIEVO. See RhL
ALTRE A gutter, passage
which a person could wa
AMBITUS. A space which
subterranean tombs, it
urn or body. When the
fxed, so fitted and ceme
inscribed with the name

that or over the niche th
used in the recesses then
Ακου. (Gr. Αμβων.) Τhe
according to Ciampini, fe
The last erected ambo in
appears the date of 1249
ends. Two ambones are
placed on each side o
marble, the largest being
granite columns.
AMBERY. See AUMBRYE.
AMPULATIO. (Lat.) See
AXSCLATORY. (Lat.) A
ANFEIFROSTYLE. (Gr. Aug
plied to a temple having
out columns at the sides.
in the front and four in
mitmus instead of antæ
Aptero at Athens. See
AMHITHEATRE. (Gr. Auo

The altars of the Catholic church are either attached or isolated. The former generally stand against a wall, and are so decorated as to appear quite independent of it. The decorations are either of painting or sculpture, or both. The isolated altar has no sort of connection with any part either of the building or of its decorations. The high altar is always isolated, whether placed at the end of the church or in its centre, as in the well-known example in St. Peter's at Rome. Whatever the situation of the high altar, it should be grand and simple, and raised on a platform with steps on every side. The holy table of the Protestant churches of England was generally of wood, but some of stone (but not affixed) have been put up of late years; they are usually covered with a cloth more or less decorated. Above it is the RFREDOS.

The altars of the Greek church, though in other respects the religion vies in splendour with the Romish church, are destitute of painted or sculptured ornament. In Calvinistic churches the name as well as the uses of an altar are unknown either as an appendage or a decoration.

ALTAR PIECE. The entire decorations of an altar. See REREDOS.

ALTAR SCREEN. The back of an altar, or the partition by which the choir is separated from the presbytery and Lady chapel. The date of its introduction into English churches we believe to have been about the close of the thirteenth century. It is generally of

tion of two theatres at tl contrivance by which all the other, saw equally w ruge of seats, whose wa amphitheatre seems to ha first exhibitions of glad acquired a taste for such subject to their dominior Lot, huic asciti artifices a Romanis celebrari sole difice remaining in Rom rally called the Coliseum Words are inadequ dimensions. Ammianus ajus summitatem ægrè

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The greater axis of the e
529 feet. the height of th
Dorie, lonie, and Corint
Covering five English
mumber of 87,000 person
arry for many of the
servation is strictly atter
Las been given in p. 94
theatres in Rome: the
Tiberins; that of Statili
The other principal -

stone, and composed of the richest tabernacle work, of niches, finials, and pedestals, supporting statues of the tutelary saints. Those to the high altars of Winchester Cathedral, of St. Alban's Abbey, and of New College at Oxford, are fine examples. Many were destroyed at the Reformation, or filled up with plaster and covered with wainscot. In many altar-screens a door was placed on each side of the altar for the officiating priests, whose vestments were deposited in an apartment behind the screen. ALTAR TOMB. A tomb of a square box-like form, raised some 3 to 6 feet in height above the ground. On it is usually seen a sculptured recumbent representation of the deceased. These effigies are often placed under an arch, sometimes richly canopied.

ALTO RELIEVO. See RELIEVO.

ALURE. A gutter, passage, or gallery, as on the top of a wall or building, being one in which a person could walk. Lydgate used the word for covered walks in the streets. AMBITUS. A space which surrounded a tomb, and was held sacred. In descriptions of subterranean tombs, it denoted a small niche made in the wall for the reception of an urn or body. When the corpse was placed in it, to the mouth of the niche a slab was fixed, so fitted and cemented as to prevent noisonie effluvia. The slabs were sometimes inscribed with the name and quality of the party. If they received an urn, either upon that or over the niche the inscription was placed. Much decoration was occasionally

used in the recesses themselves.

AMBO. (Gr. Außwv.) The elevated place or pulpit in the early Christian churches, which, according to Ciampini, fell into disuse about the beginning of the fourteenth century. The last erected ambo in Rome is supposed to have been that of S. Pancrazio, on which appears the date of 1249. It was an oblong enclosure, with steps usually at the two ends. Two ambones are described by Eustace in the cathedral at Salerno. They are placed on each side of the nave before the steps of the chancel, and are both of marble, the largest being covered with mosaic work and supported by twelve Corinthian granite columns.

AMBREY. See AUMBRYE.

AMBULATIO. (Lat.) See PTEROMA.

AMBULATORY. (Lat.) A sheltered place for exercise in walking; a cloister; a gallery. AMPHIPROSTYLE. (Gr. Aup, both or double, po, before, σruλos, a column.) A term applied to a temple having a portico or porch in the rear as well as in the front, but without columns at the sides. This species of temp e never exceeded the use of four columns in the front and four in the rear. It differed from the temple in antis, in having columns instead of antæ at the angles of the portico. Such was the temple of Nike Apteros at Athens. See TEMPLE.

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AMPHITHEATRE. (Gr. Audi, about, and earpor, a theatre.) An edifice formed by the junction of two theatres at the proscenium, so as to have seats all round the periphery, a contrivance by which all the spectators being ranged about on seats rising the one above the other, saw equally well what passed on the arena or space enclosed by the lowest range of seats, whose wall towards the arena was called the podium. The origin of the amphitheatre seems to have been among the Etruscans, to whom also are attributed the first exhibitions of gladiatorial fights. It was from this people that the Romans acquired a taste for such shows, which they communicated to every nation which became subject to their dominion. Athenæus says, Romani ubi primum ludos facere cœperunt, huic asciti artifices ab Etruscis civitatibus fuerunt, sero autem ludi omnes qui nune a Romanis celebrari solent sunt instituti." Lib. iv. c. 17. The most extraordinary edifice remaining in Rome, we may indeed say in the world, is the amphitheatre generally called the Coliseum. It was commenced by Vespasian, and completed by Titus his son. Words are inadequate to convey a satisfactory idea of its stupendous and gigantic dimensions. Ammianus says that it was painful to the eye to scan its summit; "ad cujus summitatem ægrè visio humana conscendit." Martial, in one of his epigrams says,

"Omnis Cæsareo cedat labor amphitheatro,
Unum pro cunctis fama loquatur opus.'

The greater axis of the ellipsis on which it is planned is about 627 feet, and the lesser 520 feet, the height of the outer wall about 166 feet, such wall being decorated by the Doric, Ionic, and Corinthian Orders, and pierced with arcades between the column 3. Covering five English acres and a quarter, it was capable of containing the vast number of 87,000 persons. It has suffered much from having been used actually as a quarry for many of the modern edifices of the city; but in the present day its preservation is strictly attended to by the papal government. A description of this building has been given in p. 94 et seq. Besides the Coliseum, there were three other amphitheatres in Rome: the Amphitheatrum Castrense, on the Esquiline, built probably by Tiberius; that of Statilius Taurus, and that built by Trajan in the Campius Martius. The other principal amphitheatres were those of Otricoli; on the Garigliano, of Lrick;

Puzzuoli, Capua, Verona, at the foot of Monte Casino, Pæstum, Syracuse, Agrigentum,
Catanea, Argos, Corinth, Pola in Istria (see fig. 1362.), Hipella in Spain, Nismes, Arles,
Frejus, Saintes, and

Autun. This last has four stories, in that respect like the Coliseum. That which remains in the most perfect condition is at Verona; its age has not been accurately determined, some placing it in the age of Augustus, and others in that of Maximian; of these, Maffei thinks the first date too early, and

the latter too late. The

Fig. 1362. Amphitheatre at Pola.

silence of Pliny upon it, seems to place it after the time of his writing. In the reign of Gallienus, it was not only built, but began to suffer from dilapidation, for many of the stones belonging to it are found in the walls of Verona, which walls were erected in the time of that emperor Many of these were keystones, and the numbers cut upon them still remain. From the silence of authors that it was the work of any of the emperors, it seems probable that, like that at Capua, it was erected at the expense of the citizens. The length is about 514 feet, and the breadth about 410; the long diameter of the arena 242 feet, the short diameter 147 feet. The audience part or visorium contained fortyseven tiers of seats, and the building was capable of containing about 22,000 seated spectators. In the profile of the walls of this amphitheatre the diminution in thickness upwards is made on the inside, which is also the case in that at Pola. In the Coliseum the diminution is on the outside. The amphitheatre at Nismes contained about 17,000 persons, and was about 400 feet in length and 320 feet in breadth.

of the male branche
the gynacia, or wor
ANGLE. (Lat. Angulu
indifferently the ang
legs.

ANGLE BAR. In joiner
ANGLE BRAD, or STAFF
angle and flush with
of securing the angle
The section of these b
the other quarter, by
or bond timbers. An
cult to bend without

appearance, and the la
itself is the best mater
the reach of accident.
be used, but the plaster
ANGLE BRACE. In carper
quadrangular framing,
called an angle tie and
braced. In constructing
skylight, &c. the framin
opposite to each angle, a
are fixed at each angle of
to transform the section
ANGLE BRACKET. A brack
the sides. See BRACKETE
ANGLE CAPITAL. In ancie
elumns which have one
the front and returning f
temple of Minerva Polias
capital, in which the who
ANGLE CHIMNEY. A chimne
ANGLE IRON. A plate of ir
ng two iron plates togeth
of the plate girder, fig. 13
ANGLE MODILLION. A modil.
to a diagonal drawn throu
an abuse seen only in th
decline of Roman architect
and Palmyra, and in the pa
at Spalatro.
ASSLE OF VISION. In perspe
an object or objects are see
ferent magnitudes depend.
ASGLE OF A WALL. The ang.
the angle of the building.

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The first amphitheatres, as we learn from Pliny, were constructed of wood, and usually placed in the Campus Martius, or in some place out of the city. Accidents occurring from their insecurity, they were abandoned for the more substantial species of fabric of which we have been speaking. The first person who is said to have erected an amphitheatre in Rome was Caius Scribonius Curio, on the occasion of the games he gave to the people at the funeral obsequies of his father. Determined to surpass all that had hitherto been seen, he constructed two theatres of wood, back to back, which, after the theatrical representations had been finished, were turned round with the spectators in them, leaving the stages and scenery behind. By their opposite junction, they formed a perfect amphitheatre, in which the people were gratified with a show of gladiators. The part in which the gladiators fought was called the arena, from being usually covered with sand to absorb the blood spilt in the conflicts, for which it was used. It was encompassed by a wall called the podium, fifteen or sixteen feet high, immediately round which sat the senators and ambassadors. As in the theatres, the seats rose at the back of each other; fourteen rows back from the podium all round being allotted to the equites, and the remainder to the public generally, who sat on the bare stone, cushions being provided for the senators and equites. Though at most times open to the sky, there were contrivances for covering the whole space with an awning. The avenues by which the people entered and retired were many in number, and were called vomitoria.

ANAMORPHOSIS. (Gr. Ava, backward, and uopon form.) A term employed in perspective
to denote a drawing executed in such a manner that when viewed in the common way
it presents a confused and distorted image of the thing represented, or an image of some-
thing entirely different; but when viewed from a particular point, or as reflected by a
curved mirror, or through a polyhedron, it recovers its proportions and presents a
distinct representation of the object.

ANCHOR. In decoration. an ornament shaped similarly to an anchor or arrow head. It
is used with the egg ornament to decorate or enrich mouldings. By some it is called a
tongue, from its supposed resemblance to the forked tongue of a serpent. It is used in
all the orders, but only applied to the moulding called the echinus or quarter round.
ANCONES. (Gr. Ayxwv, the joint of the elbow.) The trusses or consoles sometimes em-
ployed in the dressings or antepagmenta of apertures, serving as an apparent support to
the cornice of them at the flanks. In ancient doors the ancones were sometimes broader
at the top than at the bottom, and were not in contact with the flanks of the architrave,
but situated a small distance from them. The term is also used to signify the corners
or quoins of walls, cross beams, or rafters.
ANDRON. (Gr. Amp.) In ancient architecture, the apartment appropriated to the reception

the two sides of the angle me
arra, however, is not the ang
planes which contain the ang
ANGLE RAFTER. The piece of t
the two inclined planes formiz
A RIR. A piece of timber
enved or arched ceiling or vau
with the common ribs on each
ALS STAFF. See ANGLE BEAD
ASSLE STONES. A term used by
A Tr. See ANGLE BRACE.
ANGLO-SAXON ARCHITECTURE. E

person who introduced builders
672. The principal characteris
Works, long and short masonr
arches, rude balusters, hammer-
ATLAR CAPITAL. See CAPITAL.
AFYTLAR MOULDINGS. Generally

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ALIR VAULT. A Vank

that in the tem

Syracuse. Agrigent 1 Spain, Nismies, Ars

at Pola

writing. In the reig
idation, for many of th
walls were erected in
numbers cut upon the
of any of the emp
e expense of the cities

ng diameter of the arcs
isorium contained furt

ing about 22.000 seute:
diminution in thickness
Pola. In the Culisem

s contained about 17.0)
Ith.

cted of wood, and is r

ity. Accidents occurri z stantial species of ba to have erected an ampli

of the games he gave to

1 to surpass all that had

to back, which, after the
nd with the spectators i
ite junction, they formed
a show of gladiators
na, from being usual
or which it was used I
en feet high, immediate?
itres, the seats rose at ti
1 round being allotted to
> sat on the bare stope
that most times open to
e with an awning. The
number, and were called

1 employed in perspective

wed in the commet var ted, or an image of sorepoint, or as reflected by

oportions and presents a

nchor or arrow head. It

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By some it is called a

a serpent. It is used it nus or quarter round consoles sometimes em

s an apparent support to
were sometimes bradet
flanks of the architrare

ed to signify the corners
priated to the receptiva

ANGLE.

of the male branches of the establishment, and always in the lower part of the house; the gynæcia, or women's apartments, being in the upper part.

(Lat. Angulus.) The mutual inclination of two lines meeting in a point, called indifferently the angular point, vertex, or point of concourse: the two lines are called legs. ANGLE BAR. In joinery, the upright bar at the angle of a polygonal window. ANGLE BEAD, or STAFF BEAD. A vertical bead, commonly of wood, fixed to an exterior angle and flush with the intended surface of the plaster on both sides, for the purpose of securing the angle against accident, serving also as a guide for floating the plaster. The section of these beads is about three-quarters of a circle, with a projecting part from the other quarter, by means whereof they are made fast to the wood bricks, plugging, or bond timbers. Angle beads of wood round the intradosses of circular arches are difficult to bend without cutting or steaming them. The former has a very unsightly appearance, and the latter method is at once inconvenient and troublesome. The plaster itself is the best material in this case, and at the height generally placed will be out of the reach of accident. In good finishings, corner beads which are unsightly should not be used, but the plaster should be well gauged and brought to an arris. ANGLE BRACE. In carpentry, a piece of timber fixed to the two extremities of a piece of quadrangular framing, making it partake of the form of an octagon. This piece is also called an angle tie and a diagonal tie. By the use of this piece wall plates are frequently braced. In constructing a well hole of a circular section through a roof or floor for a skylight, &c. the framing is first made in a quadrangular form; braces are then fixed opposite to each angle, and the aperture becomes of an octagonal form; finally, pieces are fixed at each angle of the octagon, meeting each other in the middle of its sides, so as to transform the section of the aperture into a circle, or oval.

ANGLE BRACKET. A bracket placed in the vertex of an angle, and not at right angles with the sides. See BRACKETING.

ANGLE CAPITAL. In ancient Greek architecture, the Ionic capitals used to the flank columns which have one of their volutes placed at an angle of 135° with the planes of the front and returning frieze. As an example may be cited the angle capitals of the temple of Minerva Polias at Athens. This term is also applied to the modern Ionic capital, in which the whole of the four volutes have an angular direction.

ANGLE CHIMNEY. A chimney placed in the angle of a room.

ANGLE IRON. A plate of iron rolled into an L shape, and used for the purpose of secur-
ing two iron plates together by rivets, as Y Y in the beam
of the plate girder, fig. 1363, and the box-beam, fig. 1364.
ANGLE MODILLION. A medillion placed in a direction parallel
to a diagonal drawn through a cornice at its mitring. It
is an abuse seen only in the buildings erected during the
decline of Roman architecture, as in the ruins of Balbec
and Palmyra, and in the palace of the Emperor Dioclesian Y
at Spalatro.

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ANGLE OF VISION. In perspective, that angle under which Fig. 1363.
an object or objects are seen, and upon which their ap-

Fig. 1364.

parent magnitudes depend. In practical perspective it should not exceed sixty degrees. ANGLE OF A WALL. The angle contained by the vertical planes of two walls which form the angle of the building. The term is sometimes used to denote the line in which the two sides of the angle meet, which by workmen is commonly called the arris: the arris, however, is not the angle, but the line of concourse formed by the two sides or planes which contain the angle.

ANGLE RAFTER. The piece of timber in a hipped roof placed in the line of concourse of
the two inclined planes forming the hip. It is more often called a hip rafter.
ANGLE RIB. A piece of timber of a curved form placed between those two parts of a
coved or arched ceiling or vault which form an angle with each other so as to range
with the common ribs on each side or return part.

ANGLE STAFF. See ANGLE BEAD.

ANGLE STONES. A term used by some authors to denote quoins.
ANGLE TIE. See ANGLE BRACE.

ANGLO-SAXON ARCHITECTURE. Bede mentions one Benedict called Biscop, as the first
person who introduced builders of stone edifices and makers of glass into England, A.D.
672.
The principal characteristics of the style is a debased imitation of the Roman
works, long and short masonry, absence of buttresses, semi-circular and triangular
arches, rude balusters, hammer-dressings, and unchiselled sculptures.
ANGULAR CAPITAL. See CAPITAL.

ANNULAR MOULDINGS. Generally those having vertical sides and horizontal circular
sections.

ANNULAR VAULT. A vault springing from two walls each circular on the plan; such as that in the temple of Bacchus at Rome.

ANNULATED COLUMN. Slender shafts clustered together or joined by bands of stone, sometimes of metal, to a central pier or to a jamb. They were much employed in Early English Gothic architecture, and were very often of Purbeck marble. ANNULET. (Lat. Annulus.) A small fillet whose horizontal section is circular. The neck or under side of the Doric capital is decorated with these thin fillets, listels, or bands, whose number varies in different examples. Thus in the Doric of the theatre of Marcellus there are three, whilst in the great temple at Pæstum they are four in number, and in other cases as many as five are used.

ANTA, E plur. (Lat. Anta.) The jambs or square posts supporting the lintels of doors. The term antæ we think only applicable to pilasters or pillars attached to a wall, though some authors, as Perrault, have thought otherwise. Vitruvius calls square pilasters when insulated parastatæ. There are three kinds of antæ: those of porches or jamb ornaments; angular antæ, being such as show two faces on the walls of a temple; and those on the longitudinal walls of its cell. Ant are only found in temples as wings to the ends of the walls of the pronaos to give a finish to the terminations the ends of the walls would otherwise present. It might have been this view which led the Greeks to treat them rather as distinct objects than to assimilate their finishings to those of columns. The pilasters in Roman architecture differ only from the column in being square instead of round. A rule in the use of antæ was, that their projection should always be equal to that at least of the mouldings used on them. Some beautiful examples of antæ capitals exist in the temple of Minerva Polias, and the temple of Apollo Didymæns, in Iɔnia.

ANTE-CHAMBER OR ANTE-ROOM. An apartment through which access is obtained to another chamber or room. One in which servants wait and strangers are detained till the person to be spoken with is at leisure. In the distribution of many houses the peculiarity of the plan forces upon the architect the introduction of ante-rooms: in most cases, indeed, they add both elegance and dignity to a design.

ANTE-COUR. A French term, sometimes, however, used by English authors. It is the approach to the principal court of a house, and very frequently serves for communication with the kitchen, cellar, stables, &c.

ANTEFIXE. (Lat. Anti and Figo.) The ornaments of lions' and other heads below the eaves of a temple, through perforations in which, usually at the mouth, the water is cast away from the eaves. By some this term is used to denote the upright ornaments above the eaves in ancient architecture, which concealed the ends of the harmi or joint tiles.

ANTEPAGMENTA. (Lat.) In ancient architecture, the jambs or moulded architraves of a door. The lintel returning at the ends with similar mouldings down upon the antepagmenta was called supercilium.

ANTEPENDIUM. The frontal hangings of the altar.

ANTERIDES. In ancient architecture, buttresses or counterforts for the support of a wall. The Italians call them speroni (spurs).

ANTHEMION. (Gr. Avbeμiov.) It is considered to mean the honeysuckle, palmette, or fleuron ornament in the necking of some columns of the Ionic order.

ANTICUM. (Lat.) A porch to a front door, as distinguished from posticum, which is the porch to a door in the rear of a building. It was the space also between the front columns of the portico and the wall of the cella. The word has been sometimes improperly used for anta.

ANTIQUARIUM. Among the ancients an apartment or cabinet in which they kept their ancient books and vases.

ANTIQUE. A term applied to pieces of art worked by the Greeks and Romans of the classical age.

APARTMENT. (Lat. Partimentum.) A space enclosed by walls and a ceiling, which latter distinguishes it from a court or area.

APERTURE. (Lat. Aperio.) An opening through any body. In a wall it has usually three straight sides, two whereof are perpendicular to the horizon, and the third parallel to it. connecting the lower ends of the vertical sides. The materials forming the vertical sides are called jambs, and the lower level side is called the sill, and the upper part the head. This last is either a curved or flat arch. Apertures are made for entrance, light, or ornament. In Greek and Egyptian architecture, but especially in the latter, the jambs incline towards each other. Sometimes apertures are made circular, elliptical, or portions of those figures. "Apertures," says Sir Henry Wotton, “are inlets for air and light; they should be as few in number, and as moderate in dimensions, as may possibly consist with other due respects; for, in a word, all openings are weakenings. They should not approach too near the angles of the walls; for it were indeed a most essential solecism to weaken that part which must strengthen all the rest."

APIARY. (Lat. Apis.) A place for keeping beehives.

Sometimes this is a small house

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