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 the (q.v.); the Guadalaviar, which rises in the Montes Universales and flows south-east to enter the Mediterranean at Valencia; the Jiloca, which flows north from the lake of Cella to join the Jalón at Calatayud; the Guadalope, Martin and Matarraña, tributaries of the Ebro.

 TERUEL, the capital of the Spanish province of Teruel; on the left bank of the river Guadalaviar, at its confluence with the Alfambra, and on the Murviedro-Calatayud railway. Pop. (1900) 10,797. The older part of Teruel is a walled city with narrow gloomy streets and crumbling medieval houses, but modern suburbs have been built outside the walls. Some of the numerous churches are worth seeing, with their paintings by the 17th-century artist Antonio Visquert. In the cloisters of San Pedro lie the remains of the celebrated “lovers of Teruel,” Juan de Marcilla and Isabella de Segura, who lived in the 13th century and whose pathetic story has formed the subject of numerous dramas and poems by Perez de Montalban, Yaquë de Salas, Hartzenbusch and others. The cathedral dates from the 16th century. The great aqueduct of 140 arches was erected in 1555–60 by Pierre Bedel, a French architect. Teruel has several good hospitals and asylums for the aged and children, an institute, a training school for teachers, primary schools, a public library, an athenaeum, a meteorological station, and a large prison. The see was created in 1577, and forms part of the archiepiscopal province of Saragossa.

 TERVUEREN, a small town of Belgium in the province of Brabant, midway between Brussels and Louvain. Pop. (1904) 4017. It contained an ancient abbey and a hunting château belonging to the dukes of Brabant. The fine park of Tervueren is really part of the forest of Soignies. The Colonial Museum and World’s Colonial School are established here, and Tervueren is connected with Brussels by a fine broad avenue, traversed by an electric tramway as well as by carriage and other roads, and between 6 and 7 m. in length.

 TERZA RIMA, or “third rhyme,” a form of verse adapted from the Italian poets of the 13th century. Its origin has been attributed by some to the three-lined ritournel, which was an early Italian form of popular poetry, and by others to the sirventes of the Provençal troubadours. The serventese incatenato of the latter was an arrangement of triple rhymes, and unquestionably appears to have a relation with terza rima; this connexion becomes almost a certainty when we consider the admiration expressed by the Tuscan poets of the 13th century for the metrical inventions of their forerunners, the Provençals. In Italian, a stanza of terza rima consists of three lines of eleven syllables, linked with the next stanza, and with the next, and so on, by a recurrence of rhymes: thus aba, bcb, cdc, ded, &c., so that, however long the poem is, it can be divided nowhere without severing the continuity of the rhyme. Schuchardt has developed an ingenious theory that these successive terzinas are really chains of ritournels, just as ottava rima, according to the same theory, is a chain of rispetti. There were, unquestionably, chains of interwoven triple rhymed lines before the days of Dante, but it was certainly he who raised terza rima from the category of folk-verse, and gave it artistic character. What this character is may best be seen by an examination of the austere and majestic lines with which the Inferno opens, no more perfect example of terza rima having ever been composed:—

It is impossible, however, to break off here, since there is no rhyme to forte, which has to be supplied twice in the succeeding terzina, where, however, a fresh rhyme, trovai, is introduced, linking the whole to a still further terzina, and so on, indefinitely. The only way in which a poem in terza rima can be closed is by abandoning a rhyme, as at the end of Canto 1 of the Inferno, where no third rhyme is supplied to Pietro and dietro. Boccaccio wrote terza rima in close following of Dante, but it has not been a form very frequently adopted by Italian poets. Nor has the extreme difficulty of sustaining dignity and force in these complicated chains of verse made writers in other languages very anxious to adventure on terza rima. In the age of Elizabeth, Samuel Daniel employed it in his “Epistle to the Countess of Bedford,” but he found no followers. Probably the most successfully sustained poem in terza rima in the English language is Mrs Browning’s Casa Guidi Windows (1851). The Germans have always had an ambition to write in terza rima. It was used by Paul Schede, a writer of whom little is known, before the close of the 16th century, and repeatedly by Martin Opitz (1597–1639), who called the form drittreime. Two centuries and a half later, W. Schlegel had the courage to translate Dante in the metre of the Italian; and it was used for original poems by Chamisso and Rückert. Goethe, in 1826, addressed a poem in terza rima to the praise of Schiller, and there is a passage in this metre at the beginning of the second part of Faust.

 TESCHEN (Czech, Těšin; Polish, Cieszyn), a town of Austria, in Silesia, 50 m. S.E. of Troppau by rail. Pop. (1900) 19,142, of which over half is German, 43 per cent. Polish and the remainder Czech. It is situated on the Olsa, a tributary of the Oder, and combines both Polish and German peculiarities in the style of its buildings. The only relic of the ancient castle is a square tower, dating from the 12th century. There are several furniture factories and large saw-mills.

 TESSELLATED (Lat. tessellatus,), formed of tessellate, or small tessellae, cubes from half an inch to an inch square like dice, of pottery, stone, marble, enamel, &c. (See and .)

 TESSIN, CARL GUSTAF, (1695–1770), Swedish statesman, son of a great architect, Nicodemus Tessin, began his public career in 1723, at which time he was a member of the Holstein faction. In 1725 he was appointed ambassador at Vienna, and in that capacity counteracted the plans of the Swedish chancellor, Count Arvid Horn, who was for acceding to the Hanoverian Alliance. During the riksdags 1726–27 and 1731 he fiercely opposed the government, and his wit, eloquence and imposing presence made him one of the foremost protagonists of the party subsequently known as “The Hats” (see : History). From 1735 to 1736 he was again Swedish ambassador at Vienna. During the riksdag of 1738 he was elected marshal of the diet and contributed more than anyone else to overthrow the Horn administration the same year. On the division of the spoil of patronage he chose for himself the post of ambassador extraordinary at Paris, and from 1739 to