EK A 
ENC 
ENC 
quire; or take more or less of any or all the 
above, according to the depth of colour de- 
sired. 
To make blue. — Take prepared cobalt one 
ounce, sand one ounce, red lead one ounce, 
nitre one ounce, tiint-glass two ounces; melted 
together by fire, pulverized and fluxed ac- 
cording to the degree of softness or strength 
of colour required. . 
To make olive. — Take one ounce of the 
blue as prepared above, halt an ounce ot 
black, half an ounce of yellow ; grind them 
for use ; if necessary, add flux to make it 
softer. 
To make white. — Take tin prepared by 
aqua-fortis one ounce, red lead one ounce, 
of white pebble-stone or natural crystal two 
ounces, nitre one ounce, arsenic one drachm, 
with equal parts of flux, or more or less, as 
the softness or opacity may require; melted, 
calcined, or used raw. 
To make purple. — Take the finest gold ; 
dissolve it in aqua-regia, regulated with sal 
ammoniac; put it in a sand-heat for about 48 
hours to digest the gold, collect the powder, 
grind it with six times its weight ot sulphur, 
put it into a crucible on the lire till. the sul- 
phur is evaporated, then amalgamate the 
powder with twice its weight of mercury, put 
it into a mortar or other vessel, aud rub it to- 
gether for about six hours, with a small 
quantity of water in the mortar, which change 
frequently ; evaporate the remaining mercu- 
ry 7 in a crucible, and add to the powder ten 
times its weight of tlux, or more or less, as 
the hardness or softness of the colour may 
require. 
To make rose-colour. — Take purple as 
prepared above, mix it with thirty times its 
weight of flux, and one hundredth part of its 
weight of silver leaf, or any preparation of 
silver, or vary the proportion of the flux and 
silver as the quality of the colour may re- 
quire ; or any of the other preparations for 
purple will do, varying the proportion of the 
flux and silver as above ; or any materials, 
from which purple can be produced, will, 
with the addition of silver and flux, answer. 
To make brown. — Take red lead one 
ounce, calcined iron one ounce, antimony 
two ounces, litharge two ounces, zaffer one 
ounce, sand two ounces, calcined, or melted 
together, or used raw, as may be most ex- 
pedient ; or vary the proportions of any or all 
the above, as tint or quality may require. 
Method of application . — The aforesaid co- 
lours may be applied to vessels of glass in 
the following manner, viz. by painting, print- 
ing, or transferring, dipping, floating, and 
grounding. 
To paint. — Mix the colours (when reduced 
bv grinding to a line powder) with spirits of 
turpentine, temper them with thick oil of 
turpentine, and apply them with camel-hair 
pencils, or any other proper instrument, or 
mix them with nut or spike oil, or any other 
essential or volatile oil, or with water, in which 
case use gum arabic, or any other gum that 
will dissolve in water, or with spirits, var- 
nishes, gums of any kind, waxes, or resins ; 
but the first is conceived to be the best. 
To print. — 'lake a glue bat, full size, for 
the subject, charge the copper-plate with 
the oil or colour, and take the impression 
with the bat from the plate, which impression 
transfer on the glass : if the impression is not 
strong enough, shake some dry colour ou it, 
which will adhere to the moist colour; or 
take any engraving or etching, or stamp, or 
cast, and having charged it with the oil of 
colour, transfer it on the glass by means of 
prepared paper, vellum, leather, or any other 
substance that will answer ; but the first 
is the best. Any of the aforesaid engrav- 
ings, etchings, stamps, casts, or devices, may 
be etiarged with waters, oils, varnishes, or 
glutinous matters of any kind, reduced to a 
proper state, as is necessary in printing in 
general; any or all of these may be used 
alone, or mixed with the colours. When 
used alone, the colour is to be applied in 
powder as before mentioned. 
To dip . — Mix the colour to about the con- 
sistency of a cream with any of the ingredi- 
ents used for printing, in which dip the glass 
vessel, and keep it in motion till smooth. 
To ground . — First charge the gla s vessel 
with oil of turpentine, with a camel-hair pen- 
cil, and while moist apply the colour in a 
dry powder, which wi.l adhere to the oil, or, 
instead of oil of turpentine, use any of the 
materials used for printing: but the first 
is the best. 
To float . — Mix the colour with any of the 
ingredients used for printing, to a consistency 
according to the strength of ground required, 
float it through a tube, or any other vessel, 
moving or shaking the piece of glass till the 
colour is spread over the part required. 
ENARGEA, a genus of the hexandria mo- 
nogynia class and order. There is no calyx ; 
the petals are six ; berry three-celled ; four 
or five globular seeds. There is one species, 
a native of Terra del Fuego. 
ENC AIN IA, the name of three several 
feasts celebrated by the Jews in memory of 
the dedication, or rather purification, of the 
temple, by Judas Maccabeus, Solomon, and 
Zorababe!. This term is likewise used in 
church-history for the dedication of Christian 
churches. 
ENCAMPMENT, the pitching of a 
camp. In the regulations published by au- 
thority, are particularly enjoined the follow- 
ing 
Attentions relative to encampments . — On 
the arrival of a brigade, or a battalion, on 
the ground destined for its camp, the quar- 
ter and rear guards of the respective regi- 
ments will immediately mount; and when 
circumstances require them, the advanced 
picquets will be posted. The grand guards 
of cavalry will be formed, and the horses 
picketed" The men’s tents will then be pitch- 
ed, and till this duty is completed, the offi- 
cers are on no account to quit their troops or 
companies, or to employ any soldier for their 
own accommodation. Necessaries are to be 
made in the most convenient situations, and 
the utmost attention is required in this, and 
every other particular, to the cleanliness ot 
the camp. 
If circumstances will allow the ground on 
which a regiment is to encamp to be pre- 
viously ascertained, the pioneers should make 
these, and other essential conveniences, be- 
fore the corps arrives at its encampment. 
Whenever a regiment remains more than 
one night in a camp, regular kitchens. are to 
be constructed. No "tents, or huts, are to be 
allowed in front, or between the intervals of 
! the battalions. A spot of ground for this 
4 I 2 
Glff 
purpose should be marked by the quarter 
master, with the approbation of the com-' 
manding officer. 
On arriving in a camp which is intersected 
by hedges, ditches, unequal or boggy ground, 
regiments will immediately' make openings of 
communication, of 60 feet in width. The# 
ground in front of the encampment is to be 
cleared, and every obstacle to the movement 
of the artillery anil troops is to be removed 
Commanding officers of regiments must take 
care .that their communication with, the 
nearest grand route is. open and free from im- 
pediments. * 
ENCANTHIS, in surgery, a tubercle 
arising either from the caruncula lachrymalis; 
or from the adjacent red skin ; sometimes so 
large, as to obstruct not only the puncla 
lachrymalia, but also part of the sight or 
pupil itselft See Surgery. 
ENCAUSTIC, and Encaustum, the 
same with enamelling and enamel. See En- 
amelling, and Enamel. 
Encaustic painting, a method of painting 
made use of by the antients, in which wax 
was employed to give a gloss to their colours, 
and to preserve them from the injuries of 
the air. 
This antient art, after having been long 
lost, was restored by count Caylus, a mem- 
ber of the Academy of Inscriptions in France; 
and the method of painting in wax was an- 
nounced to the Academy of Painting and 
Belles Lettres, in the year 1753; though M. 
Bachelier, the author of a treatise De i’His- 
toire et du Secret de la Peinture en Cire, 
had actually 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 encaustic paintings. 
The count kept his method a secret tor some 
time, contenting himself with exhibiting a 
picture at the Louvre in 1754, representing 
the head of Minerva, painted in the manner 
of the antients, which excited the curiosity ot 
the public, and was very much admired. In 
the interval of suspense, several attempts 
were made to recover the antient method of 
painting. The first scheme adopted was that 
of melting wax and oil of turpentine toge- 
ther, and using this composition as a vehicle 
for mixing and laying on the colours. But 
this method did not explain Pliny’s meaning, 
as the wax is not burnt in this way of ma- 
naging it. In another attempt, which was 
much more agreeable to the historian s de- 
scription of encaustic painting, the wax was 
melted with strong lixivium ot salt of tartar, 
and with this the colours were ground. When 
the picture was finished, it was gradually 
presented to the fire, so as to melt the wax, 
which was thus diffused through all the par- 
ticles of the colours, so that they were fixed 
to the ground, and secured from the access 
of air or moisture. But the method of count 
Cavlus is much more simple : the cloth or 
wood, which he designed for the basis of his 
picture, is waxed over, by rubbing it simply 
with a piece of bee’s-wax ; the wood or cloth, 
stretched on a frame, being held horizontally, 
over, or perpendicularly before a fire, at 
such a distance, that the wax might gradu- 
ally melt whilst it is rubbed on, dilfuse itself, 
penetrate the body, and fill the interstices of 
the texture of (he cloth, which, when cool, is 
fit to paint upon ; but as water-colours, ©r 
