VERSAILLES. 89 1S70-71 KiiifT Williiini I. niatle his headquarters lific, ami here he was prochiimed Clcnnan Emperor, January 18, 1871. Wlien the Germans departed, the French Government es- tablished itself at Versailles, whence it carried on war against the Paris Comniuiie. It remained here until 1870, when Paris was once more made the political capital. Consult: Laurent-IIanin, llistoire ■muiiicipalc de Versailles (Paris, 188.5-80) ; Bosq, Versailles et les Trianons <ib., 1887); Molinier, Versailles, ses arts decoratifs, ses in usees ct ses colleetioiis (ib., 1888) ; Bouchf., Versailles (Versailles, 1805). VEBSCHAFFELT, vfr-sKiif felt, Pieteb An- TONiE (known also as 1'ietko Fiammingo) (1710- 93) . A Flemish sculptor and architect, one of the best known exponents of tlie rococo style. He was born in Ghent and studied under his uncle, Pieter de Sutter, and Bouehardon in Paris. He executed in Rome a monument to Pope Benedict XIV., the bronze figure of the archangel Michael (1740) which surmounts the Castle of Sant' Angelo, and numerous busts. By the Elector Palatine, Charles Theodore of Bavaria, he was appointed director of the academy at Mannheim. There he spent the remainder of his life. He built the arsenal and set up the high altar of the Hofkirehe. VEESECZ, vSr'shets. A town in the County of Temes, Hungary, at the foot of the Versecz Mountain, 45 miles south of Temesvar (Map: Hungary, G 4). 8team sawmills, breweries, and machine shops are the chief industrial establish- ments. The town is famous for its brandy and red wine. Population, in 1900, 25,199, main- ly Germans and Magyars. VERSIFICATION (Lat. versificatio, from versificare, to versify, from versus, verse, line, furrow, turning, from vertere, to turn; con- nected with Skt. vart, to turn, Goth, loairpan, AS. weorpan, OHG. werdan, Ger. icerden, to be- come -|- facere, to make, do). A term used to designate both the art of making verses and the principles on which that art is based. In the latter sense it includes rhythm and metre. By rhythm is meant the measured movement of lan- guage which is caused by the regular recurrence of metrical units know'n as feet. These units may be formed by a combination either of long and short syllables, i.e. be based on quantity, or of stressed and unstressed syllables, i.e. be based on accent. Metre deals with the measurement of poetry by means of the rhythmical feet. GREEK AND LATIN. The unit of measure for the foot is the short syllable, w , technically called mora, having the musical value of an eighth note, ^ ; a long .s.yl- lable is equivalent to two morw. — , ^ . In cer- tain measures a long .syllable may be protracted to the length of three or four morse, ,_ , ^ ; i._j> c] ; or a syllable may be shortened so as to oc- cupy less than its normal time. These phe- nomena, however, are confined for the most part to logaoedie verse (q.v.), and therefore have been dealt with under that head. Each foot has an accented and an unaccented part. The portion on which the metrical accent, ictus, falls is called the thesis, the unaccented the arsis. The principal feet are the following: VERSIFICATION. Feet of three morw ( J time). Trochee — w elwe, primus P f Iambus ~ — i-,u, amo • |» Tribrach -ww Xiyere, honiinis ff f Feel of Jour monn (| time). Dactyl ^dwoiiev, ducimus** • I ^^ AnapK'.st - - —iri^oiiai, facerent PfP Spondee etira, duco • f Proceleusniatic ^^^^ Xe-ydfitSa, mulieris f*'* Feet of five morw (|<ime). Cretic — w — dwiru, ducerentf Tcr First Paion ^ ww^ XciTrA^eSa, duxerimus f ^ ^ ^ Fourth Pason www — eyoix,hri, celeritilsf Bacchius w . Xeyoi/xTiv, amabant P^» Antibacehius ^ cfiaii'rjre, ducebat ^*P Feet of six morce (f oc | lime). Choriambus — WW — ^P^o^^it;, difficiles Ionic amaiore Ionic a minore ww eXeXoiirri iff* rc'f - ^KXtlirofiei/, deducereni^ffi* I I I'i' relegebant fFff These feet are variously combined into the larger units of dipody (two feet), metrical sen- tence or colon, and verse, which are bound to- gether by the fact that the chief ictus falls on one foot in each unit; the colon and verse may be identical, as in some lyric measures, or the ver.se may contain two or more cola. Verses are named trochaic, iambic, dactylic, etc., according to the nature of the fundamental foot. The last syl- lable of most verses may be either long or short indifferently, syllaba anceps; if the last foot lacks a syllable, the verse is called catnlectic, but if it be complete, acatalectic. Whenever a word ends within a foot, the resulting break is known as ccesura and is marked thus, ||; if the end of a word coincide Avith the end of a foot, the break is named diwresis. noted thus,i . Trochaic Rhythms. Trochaic verses are usual- ly measured by dipodies (i ^.i w). In the place of the second trochee, rarely of the first, a spondee pronounced in the time of a trochee (hence called an irrational spondee, — >) may be admitted. The apparent anapaest (ww>) and the cyclic dactyl {— „ w) are sometimes used; and the tribrach (www) is freely substituted in any foot but the last. The most frequent trochaic line is the tetrameter catalectic, meas- uring seven feet and one syllable, divided into two cola by a diferesis after the second dipody. The movement is rapid and well suited to express excitement. It was employed by Archilochus and Solon ; it was the favorite measure of Epi- charnms, and is frequently employed in the old Attic comedy. In early traged.y it was also used, but in the later only after about B.C. 415. Ex- ample : J. „ i_ I i -^ > ^ w ^ > I i _ CA t3 <ro0wra | rot Oearal jjj Sevpo rbv vovv | irpStrx^re Aristoph. N., 575.
