! 



P-EDO-BAPTISTS. 



PAINTING. 



1M 



r.KPO-BAFTlSTS (those who baptise children, from wafs and 

 Baarti(a\, a term used by modem theological writers, not aa the desig- 

 nation of any particular body of Christians, but for the sake of dia- 

 tinguiahing all thoM, of whatever wet, who practise infant baptism, 

 from the body who are called Baptists. [BAPTISTS.] 



1'AUODA. [CHINESE AIUHITKITIIU ) 



I'.UXTKH'S col. 1C, called also Devonshire colic, and colic of 

 Poitou, from its former frequency in those ports, is a peculiar and 

 writ-known variety of colic, to which lead-miners, painters, anil others 

 who use that metal are subject. The symptoms are, severe pnin in 

 the belly, with obstinate constipation and occasional vomiting, which 

 is generally followed by partial palsy, and in violent cases by apoplexy. 

 The palsy mostly affects the upper extremities, so that the arms liaug 

 powerless by the sides, the extensor muscles being the most impaired. 

 Kmaciation and paleness of the muscles affected are of very frequent 

 occurrence. 



" A first attack, taken under timely management, is for the most 

 part easily made to terminate favourably. In euch circumstances it 

 rarely endures beyond eight days. But it is exceedingly apt to recur, 

 especially if the patient return to a trade which exposes him again to 

 the poison of lead. Sometimes the primary stage of colic is wanting, 

 so that the wasting of the muscles and loss of power are the first 

 symptoms." (Christison.) A peculiar livid line along the gums close 

 to the teeth, U an invariable concomitant characteristic of lead-poison- 

 ing from the habitual exposure to it. 



The principles to be observed in the treatment are, to remove the 

 pain and constipation, and to obviate or lessen the remote effects. In 

 first attacks it is not very difficult to effect the former object, but 

 with every succeeding attack these symptoms are found more obsti- 

 nate. Inflammation is rarely a primary symptom, but may ensue, as 

 in other kinds of colic. Want of power in some portion of the bowel, 

 by which it becomes distended, and excessive contraction of another 

 portion, are the usual conditions. 



By saline purgatives, such as sulphate of magnesia, sulphate of 

 alumina and potass, or phosphate of soda in solution, followed shortly 

 by a large dose of opium, the constipation may be removed in the 

 milder cases. To counteract the occurrence of inflammation, calomel 

 and opium ore preferable means to bleeding, in a disease where debility 

 is one of the usual consequences. The constipation has been known 

 to last for a month. In such a case it was customary to give the 

 patient three or four pounds of crude mercury, in the hope that by its 

 mechanical properties it would force a passage. Nothing is more 

 reprehensible, as it irritates the contracted part of the bowel, and dis- 

 bands yet further the enfeebled and dilated part. Moat cases of con- 

 stipation will yield to pills of aloes and sulphuric acid, in the proportion 

 of one. drop of strong sulphuric acid to four grains of powdered aloes. 

 Two of these pills every four or two hours will speedily remove this 

 state. 



The paralysed arms must be supported by splints. It is however of 

 little use to cure a first attack, if the sufferer be immediately the 

 subject of a second, which he certainly will be without the greatest 

 care. Should he be unable to change his employment, he must be 

 very strict in the observance of the following rules : he should never 

 eat without first thoroughly washing the hands and face ; and never 

 take his meals in the workshop. " Yet it is the common practice of the 

 smelters of lead," says Dr. 1'ercival, " and others also who live in the 

 neighbourhood of smelting-mills, to broil mutton, beef, and pork steaks 

 on the hot pigs of lea/1, by which the flesh acquires a peculiar agreeable 

 flavour." When leaving work, a different suit of clothes should be 

 put on, and when baths are attached to the manufactory, a complete 

 immersion in these, after work, is advisable. The miners of Alston 

 Moor derive great benefit from the saline mineral waters of Cartnell 

 Holywell. to which they annually resort. Here, besides the chemical 

 constitution of the waters being appropriate, an action on the bowels 

 is caused, and it is observed that an open state of the bowels is always 

 a great protection. On this account many masters keep a supply of 

 castor oil on the premises, to which the workmen have free access. 

 Fat and oily food is likewise a great safeguard. Sobriety is still more 

 effective as a safeguard, for it is observed that among miners, potters, 

 and all persons working among lead, drunkards suffer soonest and most 

 severely. In all cases where the dust of the lead can be kept down by 

 watering, this should be done, as it proves a very valuable means of 

 exemption. Wherever it is practicable, other more innocent articles 

 should be substituted for lead, in the various manufactures where it is 

 now used. [LKAB.] 



(Christison On Puaont; and Thackrah On the Kffectt of Arti, Trades, 

 and Profariont.) 



PAINTING is the art of representing objects by means of colour 

 on a plane surface. In the present article it is intended, not to enter 

 upon the question of the purpose or the limits of the art, nor to 

 discuss its principles or practice, but merely to give a broad sketch of 

 its history, leaving the details to be filled in by a reference to the 

 names, in the Biographical Division of this work, of the principal 

 painters mentioned in the course of the article. 



As far as our knowledge extends the history of painting commences 

 with Egypt, where it may b traced back to a very remote antiquity. 

 Of the two arts, sculpture was probably thn elder; and painting may 

 at first have been chiefly exercised in connection with it : statues and 



riliev i being first coloured with more or less taste and skill, and then 

 outlines and figures in sunk relief (intaglio rilevato) being carved on 

 pillars and walls, and the enclosed space coloured to imitate the <-. 

 appearance of the objects. But during the 18th dynasty, or 14' 

 .1:1. ! Downwards, the most flourishing period of the arts in I 

 painting proper, according to the definition given at the commence- 

 ment of this article, was commonly practised. Egyptian painting has 

 uveniently divided into three classes : mural painting; paint- 

 ing on mummy cases ; and painting on papyrus ; to which might be 

 added the portraits on wooden panel*, of which several have been 

 found in mummy coses, and which also appear, from passages in Greek 

 authors, to have been presented as votive offerings in the temples. 

 The earlier painting was strictly liieiarchic and symbolical; later it 

 became somewhat freer, but always it was closely bound by com, n- 

 tional rules, and as much a mechanical as an intellectual art. The 

 human form was depicted according to a definite canon, of which there 

 is an example in a tablet in the British Museum at least 3000 years 

 ol 1. In all Egyptian paintings the human figure is drawn with less 

 truth and freedom than figures of animals ; but in neither is there any 

 attempt at foreshortening. The subjects on the walls of tombs, which 

 are most like pictures as the term is commonly understood, comprise 

 chiefly religious or funeral ceremonies, rural occupations, fowling, ban- 

 quets, and household employments. In these, little of what is called 

 composition or grouping appears to have been attempted ; the colours 

 are bright, and unbroken by modification of tint, or light and shadow ; 

 and the artists were ignorant of perspective, the figures being placed 

 one above another, and such objects as a rectangular fish-pond being 

 drawn as on a ground plan, almost precisely as in the rude pictures of 

 the ancient Mexicans. The colours used are the primitives, red, blue, 

 and yellow ; with green, block, brown, and gray. They have been sin > n 

 by analysis to consist of metallic oxides, as well as of vegetable pig- 

 ments. The vehicle employed with the colours was usually gli 

 occasionally, though probably only at a comparatively late date, wax 

 dissolved in naphtha was also used. The picture was sometimes 

 covered with a varnish of glue, in order to preserve the colours from 

 the dust or from atmospheric action, and occasionally a varnish of resin 

 appears to have been employed for the same purpose. 



From the state in which Belzoni found the great tomb of the kings 

 of Thebes, and from on examination of various mural paintings, the 

 method of working adopted by Egyptian painters has been ascertained 

 with tolerable precision. After the wall was made quite smooth it was 

 covered with an intonaco of fine lime and gypsum, which was suffered 

 to dry, and then polished. Upon this the outline of the figures was 

 carefully drawn, of sufficient strength to show through a thin coat of 

 limewosh which was spread over it; and upon this the colours, miv.l 

 with glue prepared from thick hides, were painted. For the paintings 

 on mummy cases the wood was usually covered with cloth sat > 

 with glue ; on this cloth was spread a ground of gesso, and upon this 

 the pigments, rendered opaque by an admixture of chalk, or simply 

 mixed with glue, were laid. The portraits on tablets of cedar, some- 

 times found in mummy cases, are also covered with a coating of 

 gesso, and in these portraits some approach is mode to the modulation 

 of surface by means of light and shade. The British Museum contains 

 a great many examples of Egyptian paintings and painted hieroglyphics. 

 Among the most interesting is a series of twelve fragments of frescoes 

 (Nos. 169-180), painted as described above, which were brought from 

 a tomb at Thebes, and which contain representations of the royal 

 granaries ; the taking of fowls, and of fish ; foreigners bringing tri- 

 bute ; royal banquets and entertainments, with musicians, dancers, &c. 

 In the First Egyptian Room at the British Museum (Cose 88), are 

 many of the implements used by Egyptian painters, including rec- 

 tangular pallets, with grooves for the brushes and reed pens, mid wells 

 in which the colours were kept mixed for use; also colour boxes; 

 niullers and slabs for grinding the colours; fragments of colours, ami 

 a brush made of the fibres of palm-leaves. <The great work of Kosel- 

 lini, ' Monumenti dell' Egitto' (Tavoli Mon. Civili), contains numerous 

 examples of Egyptian paintings : see also Wilkinson's ' Ancient Egyp- 

 tians,' and ' Egyptian Antiquities,' vol. ii.) 



Of Assyrian pictures, no instance has, we believe, been found. That 

 they had "images of men portrayed on the walls" in gorgeous raiments 

 and with bright colours we know ; but these were no doubt the si-ulp- 

 tured slabs of which Botta and Layard exhumed so many examples, 

 and which from the traces of colour found on them, as well as Horn 

 secondary evidence, we know to have been originally hrilli: ntly 

 painted. But that the Assyrians painted pictures even of th< 

 which the Egyptians painted wo have no proof. 



J'ltlnliii;/ in li'reecr. The origin of painting, like that of most of the 

 arts, was involved by the ancient Greeks in their legendary history. 

 There can be little doubt that Painting like Sculpture was derived by 

 the Greeks from Egypt. In their traditions respecting the inventors 

 of drawing and colouring they may however have preserved some 

 memorials of those who assisted in raising the art from its primitive 

 rudeness and narrowness of scope. Homer, though be in> 



lit* elaborately embroidered or woven with figures, speaks of 

 nothing nearer akin to painting than the colouring of the ships or the 

 staining of ivory by a Carian woman. The origin of the art in its 

 simplest form of the outline of a shadow, is ascribed to Corinth or 

 Sicyon ; but the story of its supposed inventor, as recorded by i'liuy, 



