LINDSLEY. 292 LINEAR ACCELERATION. schools of the universities of Louisville and Pennsylvania, and "graduated at the latter in 1843. " He also studied theology and was or- dained in 184(i to the Presbyterian ministry. From 1850 to 1870 he was professor of chemistry in the University of Nashville, and from 185.3 to 1873 chancellor of the university. Ih 1850 he assisted in organizing Ihc medical department of the institution and became its first dean. He organized Jlonfgomery Hell .cademy. and had a part in the establishment of the Tennessee Col- lege of Pharmacy, where he occupied the chair of materia medica from 1870 until his death. In the University of Tennessee he was professor of chemistry and State medicine from 1880 to 1897. He edited for many years the Xashi-ille Journal of AJcdiciiie and .S'lov/eri/. and contributed extensively to periodical literature on scientific and religious subjects. He published Our Ruin: Its Causes and Cure (1808). and was the editor of The Military Annals of Tennessee (188G). LINE (.S. line, OF., Fr. ligne, It. linea, from Lat. linea, thread, line, from linuin. Gk Xtrnv. linon, fla.x). A military and naval term, appliiil ti> the regular regiments of artillery, cavalry, and infan- try, in distinction from engineers and special corps or departments. While it applies univer- sally, it has more special reference to the armies of the United States and Great Britain. Orig- inally it referred to the troops con.stituting the regular line of battle. In England the terms marrhinfi re;ii)»ent and marching officer were formerly nnicli used, as synonymoiLs with line regi- ment and line oiricer. Line formation is a forma- tion in which the men, horses, or guns consti- tuting the line are abreast of each other. It is the order in which infantry fornuilatc their attack. In the navy there is a similar usage and the line or combatant officers are distinguished from those with other duties such as the medical corps, pay corps, etc. The engineers (see Eni;i.N'EEH.s, Corps of) were originally included among the stall' oOicers, but by the Organization Act of 1890 they take actual rank ami com- missions as line olUcers, though still pursuing engineering duties. In European navies the term is used to distinguish the ofheers serving in the regular navy from those in the naval reserve or on coast guard or other duties. LIN£. A term used in the Fine Arts, by ex- tension of its original meaning, as synonymous with drawing. The us<' of line in representation of visual objects in general is discussed under DR.wiNn and Per.spective : this article will con- fine itself to its use in painting. Line is of equal importance with color in a picture, the greatest eolorists of the past, like Titian and Tintoretto, having also been good draughtsmen. In fact, the character of a picture is often determined by the prevailing character of its lines, which is gener- ally indicative of ;i particular sentiment, of which it forms the expression, (See Composi- tion.) It is im])ossible to discuss here the studio maxims and rules of drawing. There is, of course, such a thing as an abstract beauty of line. Curves strike us as being more beautiful than unvarying straight lines, and compound and reversed curves than simple ones. In like man- ner we feel that lines could continue each other smoothly, as in the human figure. But the fol- lowing of cast-iron maxims would restrict the artist in practice, and destroy for the ama- teur the enjoyment of many of the most beautiful works of art. As regards line in a picture there are two distinct points of view: the classical, or academic . and the picturesque, or naturalistic. The forniei sees in line the chief, almost the onl}- merit of a picture, relegating color to a position entirely sulxirdinate. Its chief subject is the human figure, and it attempts by uniting many individ- ual perceptions to reach the iileal. The pictur- esque, on the other hand, endeavors to give the soft outlines of nature, and is concerned rather with the general elTect than with details. Its chief purpose is to give the character of object,-, the appearance of life, and to do this it emph:i sizes salient points to the neglect of details. TIm character of drawing used in the portrayal of an object — whether classical or picturesque — is de- termined by the nature of the object, the purpose of the artist, and, above all, by his individuality Among ancient peoples the (i reeks were very accurate draughtsmen, this being the only re- spect in which their painting equaled that of modern times, .mong the Italians the Floren- tines, from Giotto to Michelangelo, were pre- eminent in line, though it was also the forte of the Paduan school (Mantegna), and the Um- brians produced, under Florentine influence, ma- ters like Signorelli and Raphael. The FlemiiiL,'- of the fifteenth century (Van Eych. Memling). and the Germans of the sixteentli (Diirer. Hol- bein) also excelled in line. The Venetians were eolorists rather than draughtsmen, as were al-o the Spaniards (Velasquez) and the Netherlaml- crs (Rubens, Rembrandt) . Classical drawing was carried to the most logical extreme by David and his followers in France, the picturesque view being represented by Delacroix and the Roman- ticists, whose successors in this respect, the Im- pressionists, almost deny the existence of line. Most artists of the present day. however, com- bine both points of view in their practice. Con- sult the authorities referred to under Compost- TION. LINE, Matiiem.vtic.vl. A magnitude of only one dimension, defined as the path of a mnv- ing point or the Itoundary between adjacent por- tions of a surface. Lines are classified as straight, broken, curved, or mixed. The broken line is composed of straight lines. A mixed line is composed of straight and curved lines. LINEA, lo'nA-a. La. A town of Spain. See La l.ixEA. LINEAL (Lat. linealis, relating to a line, from linea, line). In law, a term employed to describe the relationship of persons who consti- tute successive generations in a direct line of descent from a common ancestor, and therefore bear the relation of ancestor and descendant to each other. It is the direct opposite of 'col- lateral' as applied to consanguinity or relation- ship, which means persons who have a common ancestor, but do not bear the relation of an- cestor and descendant as to each other, as cousins, who have a common ancestor on either the paternal or maternal side, hut have not the same immediate ancestors, that is. their parents. See Coi.L.TERAT. : CoxsAxcnNiTY; De.scext; Kelatioxs. LINEAR ACCELERATION. See :Mechan- If s.
