o Henry II. of England the
duchy passed to her new husband, who, having suppressed a revolt there,
gave it to his son Richard. When Richard died in 1199, it reverted to
Eleanor, and on her death five years later, was united to the English
crown and henceforward followed the fortunes of the English possessions
in France. Aquitaine as it came to the English kings stretched as of old
from the Loire to the Pyrenees, but its extent was curtailed on the
south-east by the wide lands of the counts of Toulouse. The name
Guienne, a corruption of Aquitaine, seems to have come into use about
the 10th century, and the subsequent history of Aquitaine is merged in
that of Gascony (q.v.) and Guienne (q.v.).

See E. Desjardins, _Geographie historique el administrative de la
Gaule romaine_ (Paris, 1876, 93); A. Luchaire, _Les Origines
linguistiques de l'Aquitaine_ (Paris, 1877); A. Longnon, _Geographie
de la Gaule au VI^e siecle_ (Paris, 1876); A. Perroud, _Les Origines
du premier duche d'Aquitaine_ (Paris, 1881); and E. Mabille, _Le
Royaume d'Aquitaine et ses marches sous les Carlovingiens_ (Paris,
1870).

ARABESQUE, a word meaning simply "Arabian," but technically used for a
certain form of decorative design in flowing lines intertwined; hence
comes the more metaphorical use of this word, whether in nature or in
morals, indicating a fantastic or complicated interweaving of lines
against a background. In decorative design the term is historically a
misnomer. It is applied to the grotesque decoration derived from Roman
remains of the early time of the empire, not to any style derived from
Arabian or Moorish work. Arabesque and Moresque are really distinct; the
latter is from the Arabian style of ornament, developed by the Byzantine
Greeks for their new masters, after the conquests of the followers of
Mahomet; and the former is a term pretty well restricted to varieties of
cinquecento decoration, which have nothing in common with any Arabian
examples in their details, but are a development derived from Greek and
Roman grotesque designs, such as we find them in the remains of ancient
palaces at Rome, and in ancient houses at Pompeii. These were reproduced
by Raphael and his pupils in the decoration of some of the corridors of
the Loggie of the Vatican at Rome: grotesque is thus a better name for
these decorations than Arabesque. This technical Arabesque, therefore,
is much more ancient than any Arabian or Moorish decor