[ 6 5 6 ] 
and colours and laying it on. In both thefe methods 
the pidture is moved to the fire gradually, in order 
to liquify the wax, and blend and unite the colours, 
and then moved from it by as flow degrees. This 
cannot be called burning in wax, nor be counted en- 
cauftic painting; unlefs uro , or the Greek xaiu, could 
fignify to liquify as well as to burn, in which fenfe I 
never met them any where. And if thefe words 
mean only to burn, then encauftic painting can fig- 
nify no more nor lefs than painting in enamel; in 
which wax, from its very nature, can have no fhare. 
And yet at the end of the i ith chapter of his 3 yth 
book, he/eems to give uro another meaning: he is 
admiring the wonderful effedts produced in dying 
fluffs, which being firft fcowered, are laid over with 
fome colourlefs material, in whatever pattern they 
choofe; and upon being dipped in a caldron of boil- 
ing liquor, the fluffs appeared to be finely and vari- 
ously painted ; “Cortina pingit dum coquit ; etaduflae 
“ vefles firmiores funt, quam fi non urerentur.” Here 
uro muft fignify to boil ; for we cannot fay the burnt 
fluffs were become flronger, than if they had not been 
burnt. 
In the fame book he has thefe words : 
“ Encaufto pingendi duo fuiffe antiquitus genera 
“ conftat, cera et in ebore, ceftro id efl viriculo ; 
donee claffes pingi ccepere. Hoc tertium accefiit, 
“ refolutis igni ceris penicillo utendi : quse pidtura 
“ navibus nec foie, nec fale ventifque corrumpi- 
“ tur.” — 
The clofe tranflation of this feems to be as fol- 
lows : 
“ It appears, that anciently there were two kinds 
“ of encauftic painting, in wax, and in ivory, with a 
“ flilus ; 
