- 



7A8B& 



VAUDOI3. 



live*. ot describing or dKning vases, and the various n 

 OM at different period*. The name* of vase* have been clmmed under 

 their employment, aa the pMoi, XamiMt, bUm, kyrcke, hgytwt, pytine, 

 tub*. otHopkon*, ampkoreta, kadoi, kydria, talpit, tnatta, for contain- 

 ing liquor ; the kalkon and rkylon, ban, Iximiyliot, for wine ; the 

 Irryllua, alpe, alaiKUtm, for oil; the cralrr, ptycttr, and dixoi, for 

 mixing wine; the Itta, ckytra, ilumanter, for wanning liquids; the 

 chum, omeeAoe, prockotu, epichyiit, for pouring out wine ; the aryttiina, 

 arybaUot, cvtyje, and ryathot, for drawing; the lonteriun, atamintluu, 

 piftlot, tcapke, Itetute, podanipter, Aottoion, ptrirrlia*trrio, ardaniun, 

 fur waahing; the depot, alraon, Kuybion, typeUon, rymAioii, tcyphot, 

 canthana, corrAoion, cyiiz, tlierikleiot, fJtiale, aeatut, kerai, fur drinking ; 

 and the coaoiut, duau, piiuuc, panpiit, fryWion, orybapkon, and wfr, for 

 holding food. A few ancient vases have been identified with their 

 names, but many still remain obscure. The names of the Koman 

 vase*, with some exceptions, are equally difficult to determine. The 

 dishes for the table were the patina and patella, the catcltum and the 

 lanjc ; pots for cooking, the ulla and canttut ; and drinking vessels, the 

 calir, patera, eibarium, tctttd/a, and eoneka ; the oil jugs, the ampulla, 

 guttta, <jM*ltu, guthtrinum, and cvncha ; while for mixing and pouring 

 out wine, the amphora, laycna, nulut; and for keeping it in the 

 cellars, the huge dolia or vats were hi oonstant use. The capit, caped f 

 nmpulmx, and rimpiti-ium were sacred vessels, and often of earthen- 



vases of out and coloured glass, the successors of the old filagree glass 

 vases of the Venetians ; and the European nations fabricate ornai 

 vases in all metals for prizes, presents, or decorations, each in their 

 peculiar style of art and taste. The invention of electrotyping and the 

 increase of luxury have given a new stimulus to this branch of the 

 fine arts. 



(Birch, Mitlory nf Ancient Pottery, 8vo, Lond. 1858 ; Thorns, l>iaer- 

 latiom ON Ancient Ckinete Vatrt. 8vo, Lond. 1851 ; Laborto, Illuitratnl 

 MuHilbook of the Arti of the Middle Aget, 8vo, Lond. 18.'.- 

 I'etfr den Ifn-tunft liriecli. bemaldt. Vat., ovo, Breslau, 1846 ; Krause, 

 Anifiiologit, Halle, 1854.) 



VASSAL. [FEDOAL STSTKJI.] 



VAUDEVILLE, Aval, or a-rau, is a phrase among navigators, 

 implying the reverse of amont. Aratt de Trau is used adverbially to 

 express drifting down a stream: ' Personne ne rauioit, nous nous 

 Uussions aller a-vau de 1'eau." Vaudeville appears originally to have 

 been applied to designate any song or ballad borne along on the cum nt 

 of town gossip or popularity a-rau de rillr. It has been customary 

 among etymologists to maintain that the word was originally - 

 fiir, from the valley of Vire in Normandy, " where gay and ma 

 songs were composed centuries ago, which had great currency." N 

 evidence has ever been adduced ill support of this legend, and the kind 

 I of rhymes originally designated by the word vaudeville are quite as 



ware. The Roman poets indeed often use the Greek names of vases, likely to have originated in populous towns and their gossiping 



e were apparently borrowed from the poets of Greece, whose 

 they imitated. The Koman vases aro of metals and earthen- 



but these were 



effusion* 



ware [POTTERY], lead, pewter, and box-wood. 



Amongst oriental nations the vases of China are most remarkable 

 for their antiquity, size, and beauty; the principal shapes of the 

 metallic vases are wine-jugs, (ran ; cups, e ; pails, yew ; teapots, hoo ; 

 incense vases, lung ; and tripods, liny. Some of the metallic vases are 

 of great antiquity, as old as the Emperor Chingtang, of the Shang 

 dynasty, B.C. 1743, and engraved with characters of a hieroglyphic 

 nature. Some were given as honorary rewards, those offered to the 

 emperor being made of gold, while the nobility received vessels of fine 

 copper, and the literati iron. Others were used for ancestral worship, 

 or for holding sticks of incense in the Buddhist and other temples. 

 At an early period honorary vases were buried with the dead, but 

 about B.C. 200, Che-hwang-te, of the Tain dynasty, exhumed the graves 

 of ancient sages, and many ancient vases were discovered. The vases 

 with three feet are supposed to allude to the stars presiding over the 

 prince, mandarin, and people. Those with four, to those stars pre- 

 siding over the four civil officers. The device of the eyes of a tiger 

 is supposed to warn against drunkenness or gluttony ; the nucander, or 

 ' thunder pattern,' to agriculture ; the characters cow, new; sheep, yang ; 

 hog, the ; to agricultural merit. The inscriptions, generally in ancient 

 seal characters, are the namea of the person, the vessel, the date, the 

 object for which it was given, and other details. Many of the Chinese 

 vases of later periods are beautifully enamelled in various colours, and 

 of great value : others are elegantly damascened with gold and silver 

 patterns. The vases dated in the years of Seuentlh, A.D. 1426-36, are 

 said to be made of a mixed metal of gold, silver, and brass, acci- 

 dentally produced at the burning of the palace. Those of porcelain 

 have been already described. [PoTTEBY.] Other vases are made of 

 jade, aoapstone, and the horn of the rhinoceros, which was supposed 

 to be an antidote against poison. 



In Europe, during the middle ages, vases of rock crystal continued 

 to be made till the capture of Constantinople by the Turks in the 15th 

 century, when the art was transferred to Western Europe ; and rock 

 crystal, heliotrope, and jasper were used by Italian artiste for this pur- 

 pose till the 17th century, when the art was abandoned, although 

 subsequently revived in the 18th century. The goldsmiths indeed, 

 from the 12th century, had introduced vases ornamented with damas- 

 cene and niello work, and many elegant examples were made in Italy, 

 especially by Cellini. As early as the 12th century glass vases of 

 filagree work, made by a peculiar process, were produced at Venice, and 

 the manufacture was only abandoned in the 18th. Many of these were 

 of fantastic shapes. German vases, of cylindrical shape, with enamelled 

 paintings of armorial bearings and other devices, were invented at a 



I.-. ; :. 1 



The Arabian vases of the middle ages are chiefly of metallic or 

 gland ware. [POTTEBT.] The first kind consists chiefly of ewers and 

 basins for washing the hands, and are generally of latten, a mixture of 

 copper and tin, chased or stamped, and embellished with knobs, 

 arabesques, mosaic and damask work slightly tooled out, champUri, or 

 fihssart out, the ground lowered and pricked or pounced, and the silver 

 pressed upon it Many were made at Mossoul, in Mesopotamia, as early 

 as the 12th century. 



In modern arte vase* still continue to play a part, although not so 

 important as those of the ancient world. Kumia is probably the 

 country where the largest and costliest specimens are produced, in 

 jasper, malachite, quart*, and other hard rocks, chiefly from stones 

 found at Orsk, in Orenburg, in Siberia, the sites of the manufactures 

 being placed at Perm and Tomsk. The island of Malta also produces 

 small vases in hard stone, carved in the style of the renaissance ; and 

 Tuscany is remarkable for iU vase* of the pure white alabaster of 

 Volterra, very elaborately and tastefully carved, for the purposes 

 of decoration. Knglant), France, and Austria also produce elegant 



as in a Norman valley. "Vaudeville," we read in the ' Dictioi 

 de 1' Academic,' "signifies a popular song, the air of which is . 

 sung, and the words composed upon some story of the day." FI..MI 

 songs the term was extended to pamphlets and theatrical pieces foi 

 on ephemeral gossip. At present the theatrical apjilicatiou of tlu< 

 name has superseded the others. Theatrically speaking, avauduvillo 

 is a short drama, the dialogues of which are interspersed with .-lii t, 

 songs set to popular airs. The principal charm of the vaudevill< 

 sists in its covert allusions, its delicate raillery on the leading characters 

 and events of the time. The plot ought to be simple rather ,-l. 

 or indicated, than developed and the characters presented in the same 

 slight manner. The interest ought never to be sufficiently sen 

 divert attention from the interchange of playful sarcasm and simple 

 melodies which all can appreciate. The vaudeville charms by its 

 brilliant and easy dialogue, its snatches of apparently impromptu 

 music and song, and its least possible spice of malice : any atttu 

 give a show of reality to the story and persons of the drama \vuKl 

 render the elegant trifle ponderous and stupid. Hitherto F>< mh 

 authors alone (with perhaps the exception of Gothe) have succeeded in 

 composing, and French actors in representing, these charming not 1 

 the graceful levity of the vaudeville con scarcely overbear translation 

 into the more sinewy languages of Europe. Among all French author* 

 of vaudeville, the palm is undoubtedly due to the lute M. Scribe of the 

 thousand dramas. 



VAUDOIS (Waldenses, or Valdenses ; in Latin Valleii ; }',</ 

 Italian ; Vaudft in their own dialect), a remarkable people, who i"i .n 

 a communion separate from the Church of liome, and who live in tin. - 

 high valleys of Piedmont, on the eastern or Italian side of the < ' ittian 

 Alps, between Mount Viso and the Col de Sestrieres, in the province 

 of PigneroL The valleys ore 1, that of Lucema, through which flows 

 the Pelice, on alpine torrent which rises in the Col dc la Croi.v 

 Mount Viso, and flowing eastward, falls into the river Clusone ; 2, 

 Valley of Perosa, through which passes the Clusone, which rises in the 

 Col de Sostrieres, flows in a south-east direction by Fenestrelle, Perosa, 

 and near Pignerol, and, after receiving the Pelice, joins the Po a few 

 miles further down ; 3, Valley of San Martino, wlu'ch branches out of 

 the valley of the Clusone, along the course of a torrent called German- 

 asca, which rises in the Col d'Alirics. The Vaudois aro distributed in 

 thirteen parishes, each having its pastor, called barbe in their dia- 

 lect. One of the pastors bears the title of moderator, being superior 

 in authority to the rest. In former times, when the Vaudois commu- 

 nion was much more extended than it is ntiw, they had bishops, who 

 ore mentioned in several old documents. In every parish there is a 

 Vaudois church and a school, besides a church for the Roman Catholic 

 population. The Vaudois clergy are allowed to marry. They take no 

 fees for burials, baptisms, or marriages. The Liturgy now in use is 

 that of Geneva, in the French language : formerly they made use of a 

 Liturgy in Italian. The spoken dialect of the people resembles the 

 other dialects of Piedmont. The origin of the name Voldeusss, or 

 Valdesi, is found in the word ralli, and means inhabitants > 

 volleys. Its derivation from Peter Waldo, or Valdo, of Lyon, a ini-r- 

 chant of the 12th century, who was a religious reformer, caused poo 

 tions of the Bible to be translated into French, and was the founder of 

 the sect called the Poor Men of Lyon, is now abandoned. Waldo, 

 being condemned by the archbishop oi that city, A.D. 1172, ami 

 wards by Pope Alexander HI., emigrated to Germany, and is said to 

 have died in Bohemia. The Vaudois of Piedmont however existed as 

 a religious community long before Waldo, whom J'.c/a even suspects of 

 having derived bis tenets, if not his name, from them. From him, 

 r, the separatist* fp on l:< -me in the south of France have \v\\ 

 called Waldenses, and this has caused them to be com undl with tho 

 Vaudois, or Vaudcs, of the Alps, although the doctrines and dixciplinu 

 of some of the former wore not always in accordance with those of the 

 Vaudois. The real Vaudois remained in the valleys east and west of 



