part. +D Gesenius has collected instances of the like meaning of the word in the other Shemitic languages ; and compares with it the ` Doll fabricator' of Virgil, ./Eneid, ii. 264 ; and the cognate phrases, `Fnbricarc quidvis,' Plautus, Asin i. 1. 89 ; and bbXov rEb elp, nand retixetv, of Hesiod and Homer, and retoraipecr5at uSrtv, Iliad, x. t9 (Then. 529). In connection with the word rfilrl, we have in 1 Citron. xiv. 14, an indica tion that, even in early times, encouragement was given to associations of art among the ancient Jews, by providing for their members a local habitation in which to pursue their calling, which is proved to have been an honourable one from the illustrious names which are associated with its pursuit (ver. 13, 14). From this passage (of ver. 14, compared with ver. 21 and 23), we further learn that the various arts were hereditary in certain families. * No. (2) on our list, ppm, describes a branch of art which more literally coincides with our idea of engraving. In Ezek. iv. i the word is used of engraving a plan or map ; in Job xix. 23, of inscribing upon tablets [of stone or metal], a very early instance of the art ; similarly in Is. xxx. S ; whilst in Ezek. xxiii. [aprin +t)n.,;] the word seems to indicate painting, in colours [letip ; and the addition of 1spri-3,, upon the wall, 'raises the sus picion that fresco art, which was known to very ancient nations, including the Egyptians, was prac tised by the Babylonians, and admired if not imi tated by the Jews ; comp. ver. 14, 15, 16. (On the art of colouring as known to the Assyrians, Egyptians, Greeks, etc., see Sir G. Wilkinson, On Colour and Taste, p. 153.) The LXX. renders the remarkable phrase before us, 'EPaypaOmuevous ypaq5lot, without specifying colour; but Sym machus, the Vulgate, the Peschito, and the Chaldee paraphrase all include in their versions the express idea of colour. The idea of careful and accurate art which is implied in the term under consideration imparts much beauty to the passage in Is. xlix. 16, Behold, .1 have graven thee upon the palms" of my hands,' where the same word is used. The second clause of this sentence, Thy walls are con tinually before me,' may be compared with Is. xxii. 16, where our verb ppn is also employed to describe the engraved plan or sketch of a house for architectural purposes. Among other applications of the art indicated by this word, may be mentioned monumental stones, such as the 11Vil ph: of I Sam. vii. 12, with suitable inscriptions ; see ally Deut. xxvii. 2.8. In No. (5), and its noun 1::)n (always rendered in A. V. `graven image'), we have the operation rather of the sculp tor's or the carver's art than the engraver's. In several passages of Isaiah (xxx. 22 ; xl. 19 ; • 7 ; xliv. 12-15) curious details are given of the fabrica tion of idols, which afforded much employment to the various artificers engaged in the complicated labour of image-manufacture (see also Jer. x. 3-9, from which it would seem that the wrought and prepared metal for covering the idol was imported, and put on by Jewish artisans). Working in ivory was common to the ancient Egyptians (Wilkinson's Anc. Egypt, iii. 169) ; the Assyrians (Layard's Nineveh, ii. 420) ; the ancient ®reeks (Grote's Greece, vi. 30-32) ; and the artificers of Jerusalem (Solomon's ivory throne, 1 Kings x. 18; ivory palaces, Ps. xlv. 8; ivory beds, Amos, vi. 4); and of Samaria (Ahab's ivory house, i Kings, xxii. 39 ; which was not an uncommon luxury, Amos iii. 15). No doubt the alliance of the royal houses of Israel and (indirectly) of Judah with the Phceni cian monarch (I Kings xvi.•31) was the means of
attracting many of the artificers of Tyre and Sidon and Gebal to the metropolis of each of the Jewish kingdoms ; both in Solomon's time and in Ahab's, ivory-sculpture was probably a Phonician art. The neighbouring idolators, whose example was so disastrous to Israel, were skilled in image-manufac ture. From Deut. vii. 25 it appears that the body of the idol was of sculptured wood, overlaid with one or other of the precious metals. The passage, I Sam. vi. 2-12, seems to prove that the Philistines had artificers in the precious metals capable of forming the figures of small animals ; and their idols that were taken among the spoils of the great battle of Baal-perazim were probably graven of wood (1 Chron. xiv. 12). No. (6), nnp [Piel and Pual], is perhaps distinguished from the term we have just considered (5c,n) by being used to describe figures in relief rather than statues, such as the cherubic figures on the walls of the temple (see Chron. iii. 7). Compare the cognate noun rpop, engraved figure, in I Kings vi. 29, which passage informs us that the temple walls were lavishly adorned with these figures, standing out probably in various degrees of relief (see also other but simi lar work, described by this verb, 1 Kings vii. 36). The chief application, however, of the word is to the cutting and engraving of precious stones and metals [intaglio work, as distinguished from the raised work of cameos, etc.] ; such as the breast plate of the high-priest (Exod. xxviii.9-II, 21), and the plate of his mitre (ver. 36, 37). The mystic engraving of Zech. iii. 9 is likewise described in the same terms. The splendid jewellery of Solomon's time, as referred to in the Canticles, i. so, II, is best classed under the art indicated by lint and its derivatives. From. Is. iii. 18-24 it appears that this art of the goldsmith continued rife in later reigns ; and was not unknown even after the captivity (see Zech. vi. Is). The neighbouring nations were no less skilled in this branch of art ; for instance, the Egyptians, Exod. xii. 35, compared with xxxii. 2, 3 ; the Canaanites, Josh. vi. 19 ; the Midianites, Num. xxxi. 50, and (afterwards) Judg. viii. 24-26 ; the Ammonites, Chron. xx. 2 ; the Syrians of Zobah and Hamath, 2 Sam. viii. No. (7), npi?p, like our last 'term of art, describes sculpture in relief [wie auf altagypt. Denkmalern, also nicht Hautrelief (Vulg.), says Fiirst, Heir, Wort.-i. i. 780] ; it occurs 1 Kings vi. 18, 29 (` carved figures of cherubims,' A. V.), 32, vii. 31 (`gravings,' A. V.) No. (3) and No. (S) are the Hebrew names of the engraver's tools. Lin occurs only in Exod. xxxii.
4 (A. V. a graving tool'), and in Is. viii. I (A. V. ` a pen'). This was rather the scalprum fabrile of the Romans (Livy, xxvii. 49), than the stylus (see art. Scalptura, in Smith's Dia. of G. and R. Antig. For two other opinions as to the meaning of Lynn in Exod. xxxii. 4, see Gesenius, Thes. 520). up (which in Ps. xlv. 2 and Jer. viii. S, means a writer's style or reed), has the same meaning as the previous word in the other places of its occurrence ( Job xix. 24 ; Jer. xvii. 1) ; here it has the epithet q. 'Pen of iron.' The occurrence of in :job xix. 24, imparts to the i;nr1 the idea of a finer art than is usually expressed by that verb. See above, No. (1). (De Saulcys Histoire de l' art Paris, IS5S, has been consulted in the preparation of this article.)—P. H.