412 Fine Arts. 



Animaby Vernix and Ommagank, of the Flemish 

 school; and Stubbs, Gilpin, and Catton, of 

 Great-Britain, may be honourably compared with 

 the painters of any age. Van Huysum, of Am- 

 sterdam, may be considered the greatest painter 

 of Flowers that ever lived; and in the same class 

 Van Spandonck, of the French school, is entitled 

 to respectful notice. 



The century under review is distinguished by 

 the recovery of the Encaustic method of painting, 

 which was much used by the ancients, but had 

 been long lost. This method consists in the use 

 of zvax to give a gloss to colours, and to preserve 

 them from the injuries of the air. The restoration 

 of this art is ascribed to Count Caylus, a member 

 of the Academy of Inscriptions in France, and was 

 announced to the Academy of Painting and Belles 

 Lettres in 1753; though M. Bachelier had ac- 

 tually painted a picture in wax in 1749; and he 

 was the first who communicated to the public the 

 method of performing the operation of Inustion^ 

 which is the principal characteristic of the encaus- 

 tic painting. Some additional facts were after- 

 wards brought to light, and some improvements 

 in this art were proposed, by Mr. Muntz, in an 

 elaborate treatise on this subject. A different and 

 improved species of encaustic painting was next 

 discovered, in 1759, by Mr. JosiahColebrook, of 

 Great-Britain; and, finally. Miss Greenland, of 

 the same country, in 1787, communicated to the 

 society of arts, some further discoveries and im- 

 provements, which were rewarded by that associa- 

 tion with a prize. This method of painting has 

 many advantages. The colours laid on in this 

 manner have all the strength of painting in oil, 

 and all the airiness of water-colours, without par- 

 taking of the defects of either. They are firm, 

 will bear washing, and may be retouched at plea- 



