Page:The New International Encyclopædia 1st ed. v. 07.djvu/780

* FLAMBARD. 700 FLAME. conspirators quarreled and the Bishop was spared. As soon as William died Henry I. sent Flambard to the Tower. He escaped and fled to Normandy, where he instigated Duke Robert to an invasion of England and accompanied the Duke on the expedition. Later he was pardoned and restored to the bishopric of Durham. Thenceforward Flambard appears to have led a more edifying life, devoting himself to important architectural works. Consult: Stubbs, Consti- tutional History of England, vol. i. (Oxford, 1874) ; Freeman, The Norman Conquest, vols, iv., v. (Oxford, 1870-79); id., William Rufus (Ox- ford, 1S82). FLAMBOROTJGH, flam'biir-6. The name of a farmer's family in Goldsmith's Vicar of Wake- field (q.v.). FLAMBOROTJGH HEAD. A promontory of the Yorkshire coast, England, extending into the North Sea. It forms the northern boundary of Bridlington Bay, terminating in a range of per- pendicular chalk cliffs, six miles long, 300 to 450 feet high (Map: England, G 2). It contains many caverns and outlying picturesque rocks, which swarm with sea-fowl. On the head is a lighthouse, 214 feet high, its light visible 21 miles. Across the peninsula, ending in the head, runs an early British intrenehment, with two lines of breastworks, called Dane's Dike. FLAMBOY'ANT (Fr. flamboyant, pres. part, of flamber, to flame, OFr. flamber, flamer, from Lat. flammare, to flame, from flamma, flame; con- nected with flagrare, to blaze, Gk. (p{-ftiv, phle- gein, to burn, Skt. bhraj, to be bright, AS. blac, shining, pale, I eel. bleikr, pale, Eng. bleak). The name given to the latest style of Gothic architec- ture in France. It prevailed there during the late fifteenth and early sixteenth centuries, and corresponds to the Perpendicular (q.v.) in Eng- land. The name is derived from the flame-like forms of the tracery of the windows, panels, etc., which replaced the more regular earlier traces, inscribed in circles and triangles. The character- istics of this style are minute and elaborate orna- ment, combined with general bareness of surface; a multiplication of the arch-forms used, the re- verse point and flat-arched forms being common; a reversion to horizontal effects, as in galleries, breaking up the vertical lines of pure Gothic. The crockets, for instance, are generally cut into a great number of small leaves, while they are placed far apart; the moldings are divided into large hollows, often empty, but sometimes filled with minutely naturalistic vine foliage and small, thin fillets and heads; the finials have crockets minutely carved, set upon bare pyra- midal terminals; the arch-moldings are divided into a great number of small parts, and lack the boldness and decision of the earlier styles. These moldings are frequently abutted on the pit- In rs, or continued down them without any caps; and when there arc no caps, they are small and without effect. When moldings join they are fre- quently run through one another, so as to appear to interlace. The effect is intricate rather than beautiful, suggestive, like the rest of the style, of ingenuity in stone-cutting rather than art. The doorways and windows are sometimes large and line; hut while t liesc are highly enriched, the general surface of the building is left too plain, and Hie effects arc thin There are many large buildings in Frame executed in this style, hut it is usually portions only which are fine, not the general effect. The most remarkable are Saint Maclou at Rouen, Saint Jacques at Dieppe, Saint Riquier near and Saint Wolfram at Abbe- ville, the cathedral facades of Tours and Troyes, and the Church of Brou. Some of the spires of this period are also very beautiful. The northern spire of Chartres Cathedral, for example, is con- sidered one of the finest in France. In England, also, Flamboyant tracery was introduced at the close of the Decorated period, but was so quickly superseded by the Perpendicular style that it did not form a separate style ; it is there called 'flowing,' or 'curvilinear,' and can be seen at Lincoln (south transept), Ely (south aisle and triforium ), and Wells. The corresponding stage of Gothic development in Spain, Germany, and the Netherlands is rather merely florid than based upon any clear principle of design, such as the Flamboyant. FLAME (OF. flambe, Fr. flamme, Port, flam- ma, from Lat. flamma, flame). An incandescent gaseous mixture usually produced by the chem- ical combination of various combustible sub- stances with the oxygen of the air. A flame generally consists of several parts differing from one another in temperature, color, illuminating power, etc. The flame of a lamp or candle, or simple gas-jet, consists of a hollow cone, in the centre of which there is no combustion. The central space appears dark only by contrast with the luminous cone which surrounds it. It con- sists, in reality, of colorless substances which are constantly rising into the flame. If a glass tube, open at both ends, be held obliquely in the flame of a candle, with its lower extremity in the dark central space above the wick, it will conduct away a portion of the combustible vapor, which may be kindled like a gas-jet at its upper end. The inner cone is enveloped by a bright luminous area in which the processes of chemical combination are more energetic, and which fur- nish most of the light yielded by the candle. The luminous cone is in its turn surrounded by an envelope emitting but little light and having a yellowish color; this part of the flame consists of a mixture of the products of combustion with air, all heated to incandescence. Temperature. The temperature of a flame (usually about 2000° C, or 3632° F.) depends mainly on the heats of combustion of the burning gases and the 1 specific heats of the products of combustion. The amounts and the specific heats of other gases that may be present likewise exert their influence on the temperature of the flame, part of the heat of comlmstion being consumed in raising the temperature of such gases; thus the temperature of a gas burning in pure oxygen is considerably higher than that of the same gas burning in air, owing to the presence of cold nitrogen in the latter. Part of the heat of com- bustion is also lost in the decomposition of car- bonic acid in the flame. At elevated tempera- tures carbonic acid gas partly dissociates into carbonic oxide and oxygen, according to the fol- lowing equation : 2CO„ = 200 + O, Carbonic acid Carbonic Oxygen oxide The decree of dissociation is the greater, the higher the temperature and the loweT the pres sure of carbonic acid during the process. Since'