IRON-WORK

iron-work, as an ornament in medieval architecture, is chiefly confined to the hinges, &c., of doors and of church chests, &c. specimens of norman iron-work are very rare. early english specimens are numerous and very elaborate. in some instances not only do the hinges become a mass of scroll work, but the surface of the doors is covered by similar ornaments. in both these periods the design evidently partakes of the feeling exhibited in the stone or wood carving. in the decorated period the scroll work is more graceful, and, like the foliage of the time, more natural. as styles progressed, there was a greater desire that the framing of the doors should be richer, and the ledges were chamfered or raised, then panelled, and at last the doors became a mass of scroll panelling. this, of course, interfered with the design of the hinges, the ornamentation of which gradually became unusual. in almost all styles the smaller and less important doors had merely plain strap-hinges, terminating in a few bent scrolls, and latterly in _fleurs-de-lis_. escutcheon and ring handles, and the other furniture, partook more or less of the character of the time. on the continent of europe the knockers are very elaborate. at all periods doors have been ornamented with nails having projecting heads, sometimes square, sometimes polygonal, and sometimes ornamented with roses, &c. the iron work of windows is generally plain, and the ornament confined to simple _fleur-de-lis_ heads to the stanchions. for the iron-work of screens enclosing tombs and chapels see grille; and generally see metal-work. irony (gr. [greek: eironeia], from [greek: eiron], one who says less than he means, [greek: eirein], to speak), a form of speech in which the real meaning is concealed or contradicted by the words used; it is particularly employed for the purpose of ridicule, mockery or contempt, frequently taking the form of sarcastic phrase. the word is frequently used figuratively, especially in such phrases as "the irony of fate," of an issue or result that seems to contradict the previous state or condition. the greek word was particularly used of an under-statement in the nature of dissimulation. it is especially exemplified in the assumed ignorance which socrates adopted as a method of dialectic, the "socratic irony" (see socrates). in tragedy, what is called "tragic irony" is a device for heightening the intensity of a dramatic situation. its use is particularly characteristic of the drama of ancient greece, owing to the familiarity of the spectators with the legends on which so many of the plays were based. in this form of irony the words and actions of the characters belie the real situation, which the spectators fully realize. it may take several forms; the character speaking may be conscious of the irony of his words while the rest of the actors may not, or he may be unconscious and the actors share the knowledge with the spectators, or the spectators may alone realize irony. the _oedipus tyrannus_ of sophocles is the classic example of tragic irony at its fullest and finest.