ceeded better than formerly; but his manner of painting in encaustic differed from the ancients, as described by Pliny, and therefore he was unsuccessful, inasmuch as he did not discover the real ancient manner; after thiş he made some other experiments on the same subject, differing from the process as described by Caylus and others.

Pliny, in a passage relating to encaustic painting, distinguishes three species:-1st, that in which they used a style, and painted on ivory or polished wood (cestro in ebore); for which purpose they drew the outlines on a piece of the aforesaid wood or ivory, previously soaked or imbued with some certain color; the point of the style or stigma served for this operation, and the broad end to scrape off the small filaments that arose from the outlines, and they continued forming outlines with the point till they were finished. 2nd. The next manner appears to have been, where the wax previously impregnated with color was spread over the surface of the picture with the style, and the colors thus prepared were formed into small cylinders for use. By the side of the painter was a brasier for keeping the styles continually hot, with the points of which they laid on the colors when the outlines were finished, and spread them smooth with the broad end, and thus they proceeded till the picture was finished. 3rd. The manner was by painting with a pencil in wax liquefied by fire by this method the colors contained a considerable hardness, and could not be damaged either by the heat of the sun or the deleterious effects of sea water. It was thus that they painted their ships with emblems and other pictures, and therefore it obtained the name of shippainting. The last process was to smooth and polish the picture;-thus far the ancients.

Few of late years have made more experiments in this mode of painting than the ingenious Mrs. Hooker of Rottingdean, in the county of Sussex, who has, in this instance, united practice with theory; and, for her very successful exertions in this branch of the polite arts, was presented with a gold palette by the Society for the Encouragement of Arts, &c., of London. Her account is printed in the tenth volume of the Society's Transactions for the year 1792, when Miss Emma Jane Greenland. Her first communication with specimens of this mode of painting was made in the year 1786, one of which is preserved in the Society's rooms at the Adelphi, and is worth the attention of the artist. This honorable testimony of the society's approbation did not occasion any relaxation in this indefatigable lady's endeavour to attain excellence, and she therefore, in the year 1807, made a farther communication to the Society of the result of no less than fifty experiments per day, during more than four months; and to theory Mrs. Hooker has added much practical knowledge, having painted several pictures very successfully. The following account combines the results of this lady's two communications to the Society, which, in honor to her extraordinary merits and exertions in this curious branch of the fine arts, should be called the Hookerian mode of encaustic painting.

Method of preparing and applying a composition for painting, in imitation of the ancient Grecian manner, as practised by Mrs. Hooker: -Put into a glazed earthen vessel four ounces and a half of gum arabic, and eight ounces or half a pint (wine measure) of cold spring water: when the gum is dissolved, stir in seven ounces of gum mastich, which has been washed, dried, picked, and beaten fine. Set the earthen vessel containing the gum, water, and gum mastich, over a slow fire, continually stirring and beating them hard with a spoon, in order to dissolve the gum mastich: when sufficiently boiled it will no longer appear transparent, but will become opaque and stiff like a paste. As soon as this is the case, and the gum, water, and mastich are quite boiling, without taking them off the fire, add five ounces of white wax, broken into small pieces, stirring and beating the different ingredients together till the wax is perfectly melted and has boiled; then take the composition off the fire, as boiling it longer than necessary would harden the wax, and prevent its mixing so well afterwards with water. When the composition is taken off the fire, and in the glazed earthen vessel, it should be beaten hard, and whilst hot (but not boiling) mix with it by degrees a pint (wine measure) or sixteen ounces more of cold spring water; then strain the composition as some dirt will boil out of the gum mastich, and put it into bottles. The composition, if properly made, should be like a cream, and the colors, when mixed with it, as smooth as with oil. The method of using it is to mix with the composition, upon an earthen palette, such colors in powder as are used in painting with oil, and such a quantity of the composition to be mixed with the colors as to render them of the usual consistency of oil colors, then paint with fair water.

The colors, when mixed with the composition, may be laid on either thick or thin, as best suits your subject, on which account this composition is very advantageous where any particular transparency of coloring is required; but in most cases it answers best if the colors are laid on thick, as they require the same use of the brush as if painting with body colors, and the same brushes as used in oil painting. The colors, if grown dry when mixed with the composition, may be used by putting a little water over them; but it is less trouble to put some water when the colors are observed to be growing dry. In painting with this composition the colors blend without difficulty when wet, and even when dry the tints may easily be united by means of a brush and a very small quantity of water. When the painting is finished, put some white wax into a glazed earthen vessel over a slow fire, and when melted, but not boiling, with a hard brush cover the painting with the wax, and when cold take a moderately hot iron, such as is used for ironing linen, and so cold as not to hiss if touched with any thing wet, and draw it lightly over the wax. The painting will appear as if under a cloud till the wax and whatever substance the picture is painted upon are perfectly cold; but if when so the painting should not appear sufficiently clear, it may be held before the fire at such a distance as to melt the wax slowly; or the wax may be

melted by holding a hot poker at such a distance as to melt it gently, especially over such parts of the picture as should not appear sufficiently transparent or brilliant: for the oftener heat is applied to the picture the greater will be the transparency and brilliancy of coloring; but the contrary effect would be produced if too sudden or too great a degree of heat is applied, or for too long a time, as it will draw the wax too much to the surface, and may likewise crack the paint. Should the coat of wax put over the painting when finished appear in any part uneven, it may be remedied by drawing a moderately hot iron over it again as before mentioned, or even by scraping the wax with a knife; and should the wax, by too great or too long an application of heat, form into bubbles at particular places, by applying a poker heated, or even a tobacco pipe made hot, the bubbles will subside; or such defects may be removed by drawing any thing hard over the wax, which will close any small cavities. When the picture is cold rub it with a fine linen cloth. Paintings may be executed in this manner upon wood, having first pieces of wood let in behind, across the grain of the wood, to prevent its warping, canvas, card, or plaster of Paris. The plaster of Paris requires no other preparation than mixing some fine plaster of Paris in powder with cold water the thickness of cream; then put it on a looking-glass, having first made a frame of bees'wax on the looking-glass, the form and thickness of which you wish the plaster of Paris to be, and when dry take it off, and there will be a very smooth surface to paint upon. Wood and canvas are best covered with some gray tint mixed with the same composition of gum arabic, gum mastich, and wax, and of the same sort of colors as before mentioned, before the design is begun, in order to cover the grain of the wood, or the threads of the canvas. Painting also may be done in the same manner with only gum water and gum mastich prepared the same way as the mastich and wax; but instead of putting seven ounces of mastich, and, when boiling, adding five ounces of wax, mix twelve ounces of gum mastich with the gum water, prepared as mentioned in the first part of this receipt: before it is put on the fire, and when sufficiently boiled and beaten, and a little cold, stir in by degrees twelve ounces, or three-quarters of a pint, wine measure, of cold spring water, and afterwards strain it. It would be equally practicable to paint with wax alone, dissolved in gum water in the following manner. Take twelve ounces, or three-quarters of a pint, wine measure, of cold spring water, and four ounces and a half of gum arabic, put them into a glazed earthen vessel, and, when the gum is dissolved, add eight ounces of white wax. Put the earthen vessel, with the gum water and wax, upon a slow fire, and stir them till the wax is dissolved and has boiled a few minutes; then take them off the fire, and throw them into a basin, as by remaining in the hot earthen vessel the wax would become rather hard; beat the gum water and wax till quite cold. As there is but a small proportion of water, in comparison to the quantity of gum and wax, it would be necessary, in mixing this composition with the colors, to

put also some fair water. Should the composition be so made as to occasion the ingredients to separate in the bottle, it will become equally serviceable if shaken before used to mix the colors.

Another very serviceable quality in the vehicle for painting was discovered by Mrs. Hooker, which was, that the composition which had remained in a bottle since the year 1792, in which time it had grown dry and become as solid a substance as wax, returned to a cream-like consistence, and became again in as proper a state to mix with colors as when it was first made, by putting a little cold water upon it, and suffering it to remain on a short time. I also lately found,' says this ingenious lady, some of the mixture composed of only gum arabic water and gum mastich, of which I sent a specimen to the Society of Arts in 1792; it was become dry, and had much the appearance and consistency of horn. I found, on letting some cold water remain over it, that it became as fit for painting with as when the composition was first prepared.'

J. Chr. Werner, of Newstadt, in Germany, found the following process very effectual in making wax soluble in water:-For each pound of white wax he takes twenty-four ounces of potassa, which he dissolves in two pints of water, warming it gently. In this lie he boils the wax, cut into little bits, for half an hour; at the end of this time he takes it from the fire and lets it cool. The wax fixes itself at the surface of the liquor in the form of a white saponaceous matter, which, being triturated with water, produces a sort of emulsion which he called wax milk, or encaustic wax, and may be applied to pictures, furniture, or leather, after having well cleaned them: in an hour after the application the article should be rubbed with a piece of woollen cloth, which will cause the pictures to have a better effect, and the furniture to acquire a peculiar brightness. Another advantage of this preparation of wax is, that it can be mixed with all kinds of colors, and consequently be applied in a single operation. It is also useful to fix water colors.

The following important observations are translated from the Italian of the chevalier Lorgna, who has deeply investigated the subject, in a small but valuable tract called, Un Discorso sulla Cera Punica. The ancients, says this author, according to Pliny, used three species of painting, and in all three they used fire; so that to paint with encaustic, or with a burning application, abbrucciamento, is derived from a Greek word.

We have never thoroughly known the nature of the Punic wax, which was anciently used, and which, after all, was the essential ingredient of the ancient painting in encaustic. The chevalier praises the genius and industry of M. Requeno and M. Bachelier, who have also treated this subject, but who have not fully succeeded in finding out the true way of making the said wax, then quotes the passage of Pliny on the method of making it, Punica fit hoc modo, &c. see Pliny's Nat. Hist. 1. 21, c. 14, and asserts, with many other writers, that Pliny's nitre is not the nitre of the moderns, properly so called, but it

is the natron of the ancients, viz. the native salt which is found crystallised in Egypt and other hot countries, in sands surrounding lakes of salt water; it must not be mistaken for the natron of the new nomenclature of our college of physicians, which is the new name of the mineral alkali.

In the plains of Lower Egypt, which were once covered by the sea, in the environs of the salt lakes of that country, at Tripoli, at Tunis, as also in the adjacent parts of ancient Carthage, the natron, that same natron which, under the name of nitre, the Carthagin ans, according to Pliny, used in preparing their wax, is to this day extracted, and hence it was called Punic

wax.

I began now, says Lorgna, successively to try my experiments, first with three parts of wax and one of natron, and then with four of wax, and so on till I used twenty parts of white melted wax with one only of natron, with as much water as was just sufficient to melt the natron. I held the mixture in an iron vessel over a slow fire, stirring it gently with a wooden spatula, till the two substances thickened by evaporation, and, in closely uniting, the mass by degrees assumed the consistence of butter, and the color of milk. I removed it then from the fire, and put it in the shade to let it harden, and to perfect itself in the open air. This natron was extracted from the lie of kali of Malta, evaporated till it was dry; it may also be extracted from the kali of Spain, Sicily, Sardinia, and from that of Tunis and of Tripoli, which may be procured without much difficulty. The wax being cooled it liquefied in water, and a milky emulsion resulted from it like that which could be made with the best Venetian soap.

Pliny, in another place, c. 7, 1. 23, gives further directions for the manner of using caustic on paintings on walls; but, as it concerns the antiquary more than the artist, I have forborne from making the quotation. It begins at these words, Ut parietis siccato cera Punica,' &c.

As to making use of this wax in painting in encaustic the chevalier says, that magnificent and repeated experiments were made in the apartments of the Count Giovanni Battista Gasola, by the Italian painter Signor Antonio Paccheri. He dissolved the Punic wax, when it was not yet so much hardened as to require to be igni resoluta, as expressed by Pliny, with pure water lightly infused with gum arabic, instead of sarcocolla, male incense, mentioned by Pliny. He afterwards melted and mixed his colors with this wax so liquefied as he would have done with oil, and proceeded to paint in the same manner; nor were the colors seen to run or alter in the least; and the mixture was so flexible that the pencil ran smoother with it than it would have done with oil. The painting being dry, he used the caustic over it, and rubbed it with linen cloths, by which the colors acquired a peculiar vivacity and brightness which they had not before the caustic and the rubbing had been effected.

ENCEINTE, n. s. Fr. enceinte ; Lat incingo, to enclose. In fortification, is the interior wall or rampart which surrounds a place, sometimes composed of bastions or curtains, either faced

Besides those verses in the Oxford books, which he could not help setting his name to, several of his compositions came abroad under other names. The Enconia, and public Collections of the University upon State Subjects, were never in such esteem, either for elegy or congratulation, as when he contributed most largely to them. Johnson's Life of Smith. ENCENIA. These were festivals anciently kept in honor of the building of certain cities or great towns. The Jews kept one on the day on which the temple was dedicated, and the Christians thus celebrated the consecration of their churches. At Oxford it has signified in modern times the ceremonies and solemnities instituted in honor of founders or benefactors of colleges.

ENCHA FE, v. a. Fr. eschauffer. To enrage; to irritate; to provoke.

The wind-shaked surge, with high and monstrous main,

Seems to cast water on the burning bear,
never did like molestation view
On the enchafed flood.

I

Shakspeare. Othello. ENCHAIN'. Fr. enchainer, from en and CHAIN, which see. To chain or fasten together: hence, to bind; hold under power; subject.

The one contracts and enchains his words, speaking pressingly and short; the other delights in longbreathed accents. Howe!.

What should I do! while here I was enchained,

Fr. Span.

Ital. and Lat. in

No glimpse of god-like liberty remained. Dryden.
ENCHANT, v. a.
enchanter;
ENCHANT'ER, n. s.
encantar;
ENCHANTING, adj.
ENCHANTINGLY, adv.
ENCHANTMENT, n. s.

cantare, from in and canto, to sing, ENCHANTRESS, n. s. fem. because magical charms were often composed in verse, and sung by the enchanter. To influence or subdue by charms or spells: hence, to delight extremely; to enrapture; the derivations all follow one or other of these senses.

The Turls thought that tempest was brought upon them by the charms and enchantments of the Persian magicians. Knolles.

And now about the cauldron sing, Like elves and fairies in a ring, Enchanting all that you put in. Shakspeare. Fell banning hag! enchantress, hold thy tongue. Id.

One whom the music of his own vain tongue Doth ravish like enchanting harmony. Id. He's gentle; never schooled, and yet learned, full of noble device; of all sorts enchantingły beloved.

Id.

If the king had not been persuaded of the strength of his charm, he had not sent so far, and paid so dear for it; now he trusts more to his enchantment, than to the forces of Moab and Midian.

Bp. Hall. Contemplations. These powerful drops thrice on the threshold pour, And bathe with this enchanted juice her door;

ENCHIRIDION, n. s.

Lat. enchiridium; from Gr. Ev and xup, the hand. A small book (which one may carry in the hand); a manual,

Erasmus I take to have written the most and best that ever man wrote; yet almost all were first sent abroad in very few sheets, or small enchiridions. Boyle.

ENCIRCLE, v. a. Į Old French, encercler, ENCIRCLET, n. s. from en and CIRCLE, which see. To surround; environ. Encirclet, is a ring; a circle.

Sidney.

In whose encirclets if ye gaze, Your eyes may tread a lover's maze. That stranger guest the Paphian realm obeys, A realm defended with encircling seas. Encircled in her clasping arms,

Pope.

Burns.

How have the raptured moments flown! How have I wished for fortune's charms, For her dear sake, and her's alone! He spoke, to Heaven his arms repentant spread, And kneeling bowed his gem-encircled head. Darwin. Lo! where the stripling, wrapt in wonder, roves Beneath the precipice o'erhung with pine And sees, on high, amidst the' encircling groves, From cliff to cliff the foaming torrents shine : While waters, woods, and winds, in concert join, And Echo swells the chorus to the skies. Beattie.

Kλvw, I incline. Particles which throw back the accent upon the foregoing syllable.

ENCLITICS, n. s.

It is observed too often, that men of wit do so much employ their thoughts upon fine speculations, that things useful to mankind are wholly neglected, and they are busy in making emendations upon some enclites in a Greek author, while obvious things, that every man may have use for, are wholly overlooked. Addison.

There are three enclitic particles in the Latin, viz. que, ne, and ve; but in the Greek many, as т, μ, μοι, με, συ, σοι, ση, πως, ση, το, γε, φημι, ειμι, ποτε, and others. Dr. A. Rees. ENCLOSE, v. a. ບ. ໕. Fr. enclorre; Lat. inENCLO'SER, n. s. cludo; i. e. in and claudo, ENCIO'SURE. clausus, to shut From up. en and close. To environ; surround; encircle; hence to part off from other things or property; to appropriate. Enclosure is the act of enclosing or separating off; the state of being, and the space or ground enclosed.

The fourth row a beryl, and an onyx, and a jasper they shall be set in gold in their enclosings. Ex. xxviii. 20. And all, that else this world's enclosure base Hath great or glorious in mortal eye, Adorns the person of her Majesty. Faerie Queene. Enclosures began to be frequent, whereby arable land was turned into pasture. Bacon's Henry VII.

For the young, during its enclosure in the womb, there are formed membranes inveloping it, called secundines. Ray. This expresses particularly the enclosure of the waters within the earth. Burnet's Theory.

"Tis not the common, but the enclosure must make him rich.

South.

They are to live all in a body, and generally within the same enclosure; to marry among themselves, and to eat no meats that are not prepared their own way. Addison's Spectator.

For enclosing of land, the usual way is with a bank
set with quick.
Mortimer's Husbandry.
The peer now spreads the glittering forfex wide,
T'enclose the lock; now joins it, to divide.

Then snug enclosures in some sheltered spot,
Where frequent hedges intercept the eye,
Delight us, happy to renounce awhile,
Not senseless of its charms, what still we love,
That such short absence may endear it more.

Pope.

Cowper. Gr. εγκωμιον, from

verb εγκωμιάζω

to praise. Panegyric; praise. An encomiast,

be who speaks or proclaims praise. Encomiastic, encomiastical; laudatory, panegyrical.

The Jesuits are the great encomiasts of the Chinese.

Lest, thus encompassed with funereal gloom, Like me, ye bend o'er some untimely tomb, Pour your wild ravings in Night's frighted ear, And half pronounce heaven's sacred doom severe. Beattie.

ENCORE, adv. French. Again; once more. 'A word used at public shows when a singer, or fiddler, or buffoon, is desired by the audience to do the same thing again.'-Dr. Johnson. We have retained this singular definition of our great lexicographer, written, as it would seem, when he was disappointed of some compliment of this kind. This adverb, however, has become the parent of a verb; see the instance.

To the same notes thy sons shall hum or spore, And all thy yawning daughters cry encore.

Dolly, in her master's shop, Encores them as she twirls her mop.

ENCOUNTER, v. a., v. n. & }

Dunciad.

Whitehead. Fr. encon

ENCOUNTERER, n. s. [n. s. Stre; Spanish and Port. encontrar, from Latin, in, and contra, against; opposite. To engage or run against; to meet front to front, or in opposition; applied to casual as well as premeditated conflicts.

The lion will not kick with his feet, but he will strike such a stroke with his tail, that he will break the back of his encounterer with it. More.

Putting themselves in order of battle, they encountered their enemies. Knolles's History of the Turks.

I am most fortunate thus to encounter you: You have ended my business, and I will merrily Accompany you home. Shakspeare. Coriolanus.

Encounter so,

As doth the fury of two desperate men, Which, in the very meeting, fall and die. Our wars

Id.

Will turn into a peaceful comic sport, When ladies crave to be encountered with. Id. . See they encounter thee with their hearts' thanks; Both sides are even. Id. Macbeth.

Oh these encounterers! so gilt of tongue,
They give a coasting welcome ere it comes;

And wide unclasp the tables of their thoughts
To every ticklish leader. Id. Troilus and Cressida.
Two black clouds

With heaven's artillery fraught, come rattling on
Over the Caspian; then stand front to front,
Hov'ring a space, 'till winds the signal blow
To join their dark encounter in mid air.

Milton.

Jurors are not bound to believe two witnesses, if the probability of the fact does reasonably encounter them. Hale. As many as are the difficulties which virtue has to encounter in this world, her force is yet superior.

Shaftesbury.

Which way soever we turn, we are encountered with clear evidences and sensible demonstrations of a Deity. Tillotson.

Thou stronger may'st endure the flood of light, And, while in shades I chear my fainting sight, Encounter the descending excellence. Dryden.

Pallas the' encounter seeks; but ere he throws To Tuscan Tiber thus addressed his vows:

O sacred stream, direct my flying dart,
And give to pass the proud Halesus' heart.

Byron.

Id.

The doctrines of the reformation have kept the field against all encounterers.

Atterbury.