ISSOIRE, és swar' (anc. Issiodurum): town of France, dept. of Puy-de-Dôme, at the confluence of the Couze and Allier, 20 m. s.e. of Clermont. Pop. 7,000.

ISSOUDUN, és-sô-dùng': manufacturing town of France, dept. of Indre, on the river Théolle, on the railway from Orleans to Limoges, 18 m. n.e. of Châteauroux. The chief manufactures are woolen cloth and yarn. Pop (1886) 12,697.

ISSUE, n. ish'shu [F. issu, born, sprung-from issue, issue, exit; Norm. F. issir, to go out-from L. exirě, to go out: It. uscire, to go out, to spout]: the act of passing of flowing out; that which happens or turns out; end or ultimate result; children; offspring; a giving or sending out, as of bank-notes; giving out or delivering for use; the point in dispute in a suit at law; in med., an artificially produced wound kept raw and open that there may be a constant flow of pus from the surface: V. to send out or forth; to put in circulation; to deliver for use; to flow or come out; to spring, as from a source; to proceed, as progeny; to end or terminate; to arise. IS'SUING, imp.: N. a flowing or passing out; a sending out, as of notes for circulation. IS'SUED, pp. -shud: ADJ. descended. Is'sUELESS, a. -shū-lés, childless. IS'SUER, n. -er, one who. ISSUE PEA, in med., a pea or such like for maintaining the irritation in a wound and promoting the secretion of pus. AT ISSUE, in dispute; controverted; at variance. TO JOIN ISSUE, in law, to come to the point in dispute.-SYN of 'issue, v.': to proceed; spring; come out; pass out; break out; flow from; send out; send forth; emerge; close; end; terminate;-of 'issue. n.': exit; egress; passage out; event; consequence; termination; conclusion; sequel; progeny; vent.

ISSUE, in Law: (1) descendants of a common ancestor; or (2) in pleading, a point affirmed by one party in a suit and denied by the other. In the latter sense, an actual I. is one formed in an action regularly brought to try a question of right; a collateral I. is one formed on a matter only indirectly in the line of the pleading; a feigned I. is one formed in a fictitious action, under authority of a court, to try a question of fact before a jury; a formal I. is one formed according to the rules required by law; a general I. denies the whole declaration in direct terms; an immaterial I. is formed on some non-essential matter which will not determine the merits of the cause; an informal I. arises when a material allegation is improperly traversed; a material I. determines the merits of the cause when decided; a special I. is a single point selected by the defendant on which he rests his whole cause; a common 1. is one formed on the plea of non est factum to an action of covenant broken.

ISSUS, is'sus anciently seaport on the gulf of I. in Cilicia, Asia Minor, celebrated for a victory which Alexander the Great obtained over Darius B.C. 333, by which the camp and family of Darius fell into his hands. Its exact site has not been ascertained.

ISTALIF, is-ta-lef. town of Afghanistan, 22 m. n.z.w. of Cabul, on a tributary of the Cabul river. In 1842, it was

partially destroyed by the British. Previous to that event, it had 15,000 inhabitants, employed chiefly in spinning, weaving, and dyeing cotton.

IS'TER: see DANUBE.

ISTHMUS, n. is'mŭs or ist- [L. isthmus; Gr. isthmos; F. isthme]: neck of land uniting two larger portions together, or uniting a peninsula to the mainland. The name isthmus was by the ancients often employed without any addition to designate the Isthmus of Corinth, joining the Peloponnesus to continental Hellas. Here there was a famous temple of Neptune, and here also were celebrated Isthmian games. ISTH MIAN, a. mi-an, pertaining to an istumus. ISTHMIAN GAMES, one of the four great national festivals of anc. Greece, celebrated on the Isthmus of Corinth at first every third year, and afterward every fifth year. They were said to have been instituted by Sisyphus, and restored by Theseus. The games, like those of Olympia, consisted of athletic exercises, with the addition of competitions in music and poetry. The victors were crowned with garlands of fir, and their statutes were placed in the temple of Neptune. Till the destruction of Corinth by the Roman general Mummius, B.C. 146, the management of these games was in the hands of the rulers of that city, though the Athenians always had the seats of honor. The Romans added the eoarser and more brutal amusements of gladiatorial exhibitions and fights with wild beasts. The spread of Christianity was fatal to their popularity, though they continued during the reigns of Constantine and Julian. See GAME (ANCIENT GAMES-references). ISTHMUS CANALS: see INTEROCEANIC CANAL: SUEZ CANAL.

ISTRIA, is tri-a: Austrian margraviate, which, with the county of Görz and Gradiska, and the town and territory of Trieste, forms the Austrian crown-land of the coast-districts of Kustenland. It consists of a peninsula projecting into the n.e. corner of the Adriatic Sea, together with the adjacent Quarnero Islands; 1,908 sq.m. The surface is mountainous with off-shoots from the Julian Alps. Twothirds of the people are of Slavic race, and nearly one-third Italian.-I. was anciently inhabited by a tribe of Illyrian pirates, and resisted the Roman arms till B.C. 177. After the fall of the Western empire it formed a part of various kingdoms, till Austria acquired it 1797. In 1805 Austria was forced to yield it to France; but re-took it 1813, and has held it since. Pop. (1890) 317,610.

ISVORNIK': see ZVORNIK.

ÍSWARA, és wa ra: [from the Sanskrit, is', to possess power, hence literally lord]: epithet applied to different Hindu divinities, but in mythological acceptation mostly designates SIVA (q.v.).

IT, pron. it [AS. hit; Dut. het; Icel. hitt; L. d]: the pron. of the 3d pers. sing. neut. nom. or obj.; the thing already spoken of. ITs, its, the poss. case of it. ITSELF. the neut. reciprocal pron. Note.-It in a sentence stands instead of, and refers to, a place, animal, thing, quality, or

clause, but often to nothing definite, as, it rains; it refers to a person, in the phrase it is I.'

ITACOLUMITE, it-a-köl'ü-mit: rock found in Brazil, the Ural Mountains, Ga., N. C., and S. C., and named from the Itacolumi Mountain peaks of Brazil; sometimes called flexible sandstone. It is silicious, granulated, and laminated, generally found with talcose slates, is rendered flexible by the admixture of mica, and is of undoubted sedimentary origin. When discovered in gold regions, diamonds will be found frequently in close proximity.

ITAKA-WOOD, n. it'a-ka wúd [Guiana name of the tree]: in bot. and com., a kind of wood with black or brown streaks much used in cabinet work. It comes from Macharium Schomburgkii, a papilionaceous tree, tribe Dalbergiea, growing in Guiana.

ITALIAN, a. i-tŭl'yăn [L. Itàlia, Italy]: pertaining to Italy. N. a native of Italy, or its language. ITALIANIZE, V. -yan-iz, to make Italian in manners or habits; to speak Italian or play the Italian. ITAL'IANI ZING, imp. ITALIANIZED, pp. -izd. ITALIC, a. i-tŭl'ik, pertaining to Italy or its language; denoting a certain variety of type. ITALICS, n. plu. i taliks [F. italique, applied to types-from L. Itilicus, of or belonging to Italy]: a sloping sort of types or letters, invented and used first by the Venetian printer Aldus, 1501. ITALIC VERSION (Vetus Itala), a translation or translations of the Scriptures into Latin, which preceded the Vulgate (q.v.); dating probably from the middle of the 2d c., and in use till the time of Jerome. The Old Testament portion was made, not from the Hebrew, but from the Septuagint. The Itala was made for use in Italy, where a higher culture prevailed, which was offended by the Old Latin version (Vetus Latina) with its degenerate Latin and its many provincialisms and colloquialisms. ITALICIZE, V. --siz, to write or print in italics. ITAL'ICIZING, imp. ITAL'ICIZED, pp. -sizd. ITAL'ICISM, n. -i-sizm, an Italian phrase or idiom. ITALIAN IRON, an instrument, when heated, used for fluting and smoothing frills, etc., by laundresses. ITALIAN WAREHOUSEMAN, a vender of macaroni, vermicelli, dried fruits, olive-oil, and the like.

The

ITALIAN ARCHITECTURE: term usually limited to the style practiced by the Italian architects of the 15th, 16th, and 17th c., and which has since been adopted in every country in Europe. This style originated in a revival of the ancient architecture of Rome. Although Gothic architecture had been practiced in Italy during the 13th and 14th c., it had never been thoroughly naturalized. Italians always showed a preference for the round arch over the pointed northern form; and even in their buildings in the pointed style, there is a certain simplicity and largeness of parts indicative of a classic feeling. As early as 1350, Giovanni Pisano, in the beautiful sculpture of the pulpit at Pisa, showed a return to the ancient models. Arnolpho di Lapo built the cathedral of Florence (1290–1300), and in his design proposed a great dome (a remarkably Roman feature) over the crossing of the nave and transept.

This he did not live to complete; but he prepared 'he way for Brunelleschi, the chief aim of whose life was the ac complishment of the great dome of the cathedral. He went to Rome to study the ancient buildings there, at that time neglected and hardly known to the Italians themselves. After giving considerable time to these monuments, he

returned to Florence, and, after great opposition, succeeded in carrying out the construction of the dome as it now stands. From this time the revival of Roman architecture went on rapidly. It was encouraged by the popes and other princes of Italy; and the invention of the printing-press soon spread a knowledge of the works of the Italian architects over Europe. At first, the Roman moldings and or naments were copied and applied to the existing forms. As the ancient style became better understood, its general principles were gradually adopted, until at length the Modern

Italian style was formed. This style may be defined as ancient Roman architecture applied to the forms and requirements of modern buildings. It has been admirably applied to domestic, but it has never been so successfully used in ecclesiastical edifices. The domes of the Italian churches render the interiors of these buildings very impressive, and are a feature for whose introduction into w. Europe, we are indebted to this style; but the façades of the churches are broken up into stories, and lack the unity of a Gothic front.

Italian architecture is divided into three styles or schools according to the places where it was practiced-viz., the Florentine, Roman, and Venetian. The Florentine buildings are massive and grand in effect; they are indebted to ancient Roman art for details chiefly, the outlines being the same as those of the older buildings, formed to suit the requirements of the place. Florence being a turbulent city, every man who had anything to lose had literally to make his house his castle. Accordingly, the basement floor is massively built with large blocks of stone, and the windows are small and plain. The Roman school naturally resembles more closely the ancient Roman buildings so numerous in that city-pilasters, arcades, etc., being freely used. In Rome, the plan of including two or more stories in one order of columns or pilasters with their entablature, with an attic or low story above, originated, and was afterward extensively, but, as already explained, not with entire success, applied to churches.

The Venetian style is, as might be expected in a city long accustomed to elegant palaces, the most ornate and picturesque of the Italian schools. Venice is crowded with specimens of all kinds from the earliest to the latest renaissance, and retains its individuality of style from first to last. Each story is marked by a separate tier of columns or pilasters with their entablature; the windows are arched and ornamented with columns, and the spandrils commonly filled with figures. The outline is varied in form, and is usually finished with a balustrade, broken by pedestals, and crowned with sculptured figures. It is from this most picturesque of the styles of the Italian renaissance that the other countries of Europe derived their peculiar forms. See RENAISSANCE: ELIZABETHAN: CINQUE-CENTO: PAL

LADIO.

ITALIAN LAN'GUAGE AND LITERATURE: see ITALY.