464 ARCHITECTURE [GLOSSARY. DUKCTEON, the prison in a castle keep, so called because tlie Norman name for the latter is donjon, and the dungeons or prisons are generally in its lowest story. (See KEEP.) ECHAUGUETTE. See BARTIZAN. ECHINUS (Gr. ixivos, an egg), a moulding of eccentric curve, gene rally cut (when it is carved) into the forms of eggs and anchors alternating, whence the moulding is called by the name of the more conspicuous. It is the same as OVOLO, q.v. ELEMENT, the outline of the design of a Decorated window, on which the centres for the tracery are formed. These centres will all be found to fall on points which, in some way or other, will be equimultiples of parts of the openings. Before any one can draw tracery well, or understand even the principles of its com position, he must give much attention to the study of the element. ^See TBACERY.) ELEVATION, the front facade, as the French term it, of a structure, a geometrical drawing of the external upright parts of a build ing. EMBRASURE, the opening in a battlement between the two raised solid portions or merlons, sometimes called a crenelle. (See BATTLEMENT, CRENELLE.) ENCEINTE, a French term for the close or precinct of a cathedral, abbey, castle, &c. ENTABLATURE, or INTABLATURE (Lat. in, upon, and tabula, a tablet), the superimposed horizontal mass in a columnar ordinance, which rests upon the tablet or abacus of a column. It is conven tionally composed of three parts, architrave, frieze, and cornice. ENTAIL, ENTAYLE, sculptured ornaments, generally of rich design, most probably derived from the Italian intaglio. ENTASIS, the swelling of a column, &c. In mediaeval architecture, some spires, particularly those called "broach spires," have a slight swelling in the sides, but no more than to make them look straight; for, from a particular " deceptio visus," that which is quite straight, when viewed at a height, looks hollow. EPI, the French term for a light finial, generally of metal, but sometimes of terra cotta, forming the termination of a pointed roof or spire. EPISTYLIUM, or EPISTYLE (Gr. eVi, upon, and crrvKos, a column). This term may with propriety be applied to the whole entabla ture, with which it is synonymous; but it is restricted in use to the architrave or lowest member of the entablature. ESCAPE, an equivalent for the term APOPHYGE, q. v. ESCUTCHEON (Lat. scutum, Ital. scudo, Fr. icusson, Ger. Wappen- schild), a term for the shields used on tombs in the spandrils of doors or in string-courses. Also the ornamented plates from the centre of which door-rings, knockers, &c. , are suspended, or which protect the wood of the key-hole from the wear of the key. In mediaeval times these were often worked in a very beautiful manner. ESTRADE, a French term for a raised platform. (See DAIS.) EUSTYLE (Gr. eS, well, and trrCAos, a column), a species of inter- columniation, to which a proportion of two diameters and a quarter is assigned. This term, together with the others of similar import pycnostyle, systyle, diastyle, and araeostyle referring to the distances of columns from one another in composi tion, is from Vitruvius, who assigns to each the space it is to express. It will be seen, however, by reference to them indivi dually, that the words themselves, though perhaps sufficiently applicable, convey no idea of an exactly defined space, and by reference to the columnar structures of the ancients, that no atten tion was paid by them to such limitations. It follows, then, that the proportions assigned to each are purely conventional, and may or may not be attended to without vitiating the power of applying the terms. Eustyle means the best or most beautiful arrangement ; but as the effect of a columnar composition depends on many things besides the diameter of the columns, the same proportioned intercolunmiation would look well or ill accord ing to those other circumstances, so that the limitation of eustyle to two diameters and a quarter is absurd. FACADE. See ELEVATION. FAITE, the French term for the ridge of a roof. FAITIERE, the ornament running along the ridge of a building. (See CRESTING.) FAN TRACERY. See GROINED VAULTING. FASCIA (Lat. a band.) The narrow vertical bands or broad fillets into which the architraves of Corinthian and Ionic entablatures are divided are called fasciae ; and the term is generally applied to any similar member in architecture. FEATHERING. See CUSP. FEMERELL, properly FUMERELL, a sort of lantern in the ridge of a hall (when the fire was in the middle of the floor and not in a chimney) for the purpose of letting out the smoke. FENESTRAL, a frame or "chassis, "on which oiled paper or thin cloth was strained to keep out wind and rain when the windows v-ere not glazed. FERETORY, a sort of parclose which enclosed the feretrum, shrine, or tomb, as in Henry VII. s chapel. FILLET (Fr. filet, listel, Ital. lisfello, Ger. Bindc), a narrow vertical band or listel, of frequent use in congeries of mouldings, 1o separate and combine them, and also to give breadth and firmness to the upper edge of a crowning cyma or cavetto, as in an external cornice. The narrow slips or breadths between the flutes of Corin thian and Ionic columns are also called fillets. In mediaeval work, the fillet is a small, flat, projecting square, chiefly used to sepa rate hollows and rounds, and often found in the outer parts of shafts and bowtells. In this situation the centre fillet has been termed a keel, and the two side ones wings ; but apparently this is not an ancient usage. FINIAL (Fr. fleuron), the flower or bunch of flowers with which a spire, pinnacle, gablet, canopy, &c., generally terminates. Where there are crockets, the fiuial generally bears as close a resemblance as possible to them in point of design. They are found in early work where there are no crockets. The simplest form more resembles a bud about to burst than an open flower. They soon became more elaborate, as at Lincoln, and still more, as at West minster and the Hotel Cluny at Paris. Many Perpendicular finials are like four crockets bound together. Almost every known example of a finial has a sort of necking separating it from the parts below. (See EPI. ) FLAMBOYANT, a name applied to the Third Pointed style in Franco (ogive tertiale), which seems to have been developed from the Second, as our Perpendicular was from the Decorated. The great characteristic is, that the element of the tracery flows upwards in long wavy divisions like flames of fire. In most cases, also, every division has only one cusp on each side, however long the division may be. The mouldings seem to be as much inferior to those of the preceding period, as our Perpendicular mouldings were to the Early English, a fact which seems to show that the decadence of Gothic architecture was not confined to one country. FLECHE (Ital. aguglia), a general term in French architecture for a spire, but more particularly used for the small slender erection rising from the intersection of the nave and transepts in cathedrals and large churches, and carrying the sanctus bell. FLUTE, a concave channel. Columns whose shafts are channelled are said to be fluted, and the flutes are collectively called flutings. FOLIATION. See CUSP. FONT, the vessel used in the rite of baptism. The earliest extant is supposed to be that in which Constantino is said to have been baptised; this is a porphyry labrum from a Koman bath. Those in the baptisteries in Italy are all large, and were intended for immersion ; as time went on, they seem to have become smaller. What they were in Saxon times is uncertain, though it is not improbable that some of the plain examples, called Norman, may have been of earliei date. Norman fonts are sometimes mere plain, hollow cylinders, generally a little smaller below than above ; others are massive squares, supported on a thick stem, round which sometimes there are smaller shafts. In the Early English this form is still pursued, and the shafts are detached ; sometimes, however, they are hexagonal and octagonal, and in this and the later styles assume the form of a vessel on a stem. Norman fonts have frequently curious carvings on them, ap proaching the grotesque ; in later times the foliages, &c., partook absolutely of the character of those used in other archi tectural details of their respective periods. The font is usually placed close to a pillar near the entrance, generally that nearest but one to the tower in the south arcade, or, in large buildings, in the middle of the nave, opposite the entrance porch, and some times in a separate building. (See BAPTISTERY.) FOOT-STALL, a word supposed to be a literal translation of piede- stal, or pedestal, the lower part of a pier. (See BASE, PATIN.) FORMERET, the half ribs against the walls in a groined-ceiling. FRATERY, FRATER HOUSE, supposed to be the hall where the friars met for dinner or other purposes ; the same as refectory among the monks. FREE-STONE (Fr. pierre de taille, Ital. pietra molle), stone used for mouldings, tracery, and other work required to be executed with the chisel. The oolitic stones are generally so called, although in some countries the soft sandstones are so used, and in some churches an indurated chalk called clunch is employed for inter nal lining and for carving. FRESCO, the method of painting on a wall while the plastering is wet. The colour penetrates through the material, which therefore will bear rubbing or cleaning to almost any extent. The trans parency, the chiaroscuro, and lucidity, as well as force, which can be obtained by this method, cannot be conceived unless the frescoes of Fra Angelico or Raffaelle are studied. The word, however, is often applied improperly to mediaeval delineations in ancient churches, which are only painted on the surface in distemper or body colour, mixed with size or white of egg, which gives them an opaque effect. FRIEZE (Ital. fregio, from the Lat. Plirygionius, enriched or em broidered), that portion of an entablature between the cornice above and the architrave below. It derives its name from being
the recipient of the sculptured enrichments either of foliage or