4-8 ENCAUSTIC PAINTING. 



such a degree of thickness, that both surfaces may shine through- 

 out without any appearance of dull spots. Tln-n expose the cloth 

 to the (ire or to the sun ; by which means the oil will evaporate, 

 and (he wax become solid, and be (it to receive any composition of 

 colour proper for a ground, which is to be !;iid on as abuve di- 

 rected in the case of cloth without paper. 



Almost all the colours that are used in oil. painting may be also 

 applied in the encaustic method. Mr. Mun;z objects, indeed, to 

 brown light pink, and unburot terra di Sienna; because these, oa 

 account of their gummy or stony texture, will not adr.iit such a 

 cohesion with the wax as will properly fix them; but other colours 

 which cannot be admitted in oil-painting, as red lead, red orpi. 

 iiient, crystals of verdigris, and red precipitate of mercury, may 

 be used here. The crayons used in encaustic painting are the 

 same with those used in the common way of crayon painting, ex. 

 cepting those that in their composition are too tenacious ; and the 

 method of using them is the same in both cases. 



The encaustic painting has many peculiar advantages ; though 

 the colours have not the natural varnish or shining which they ac- 

 quire with oil, they have all the strength of paintings in oil, and 

 all the airiness of water colours, without partaking of the a| parent 

 character or defects of either ; they may be looked at in any light 

 and in any situation, without any false glare : the colours nre firm, 

 and will bear washing; and a picture, after having been smoked, 

 and then exposed to the dew, becomes as clean as if it had been 

 but just painted. It may also be retouched at pleasure, without 

 any detriment to the colours : for the new colours will unite with 

 the old ones, without spots, as is the case in common sis- painting ; 

 nor is it necessary to rub the places to be retouched with oil as in 

 oil pictures; it is not liable to crack, and easily repaired, if it 

 should chance to suffer any injury. The duration of this painting 

 is also a very material advantage ; the colours are not liable to 

 fade and change ; no damp can affect them, nor any corrosive sub- 

 stance injure them ; nor can the colour fall off in shivers from the 

 canvas. However, notwithstanding all these and other advanta es 

 enumerated by the abbe Mazeas and Mr. Muntz, this art has not 

 yet been much practised. Many of these properties belong to a 

 much higher species of encaustic painting afterwards discovered in 

 England, the colours of which are fixed by a very intense heat ; 

 nor are the colours or grounds on which they are laid liable (o be 



