P I c 
ipirit of wine, over the reverfe of the painting, lay the 
new canvafs evenly upon it while the glue is hot, and 
eomprefs them together with thick plates of lead or flat 
pieces of polifhed marble. When the glue is fet, remove 
thefe weights, and let the cloth remain till the glue is 
become perfectly dry and hard. Then the whble mull 
be again turned with the other fide upwards; and, the 
border of wax being replaced, the linen cloth on t'he 
face of the painting mud be deftroyed by means of the 
corroding fluid ; particular care is neceffary in this part 
of the operation, becaufe the face of the painting is 
defended only by the coat of glue which cemented the 
linen cloth to if. The painting mu ft then be freed from 
the glue by walhing it with hot water, fpread and rubbed 
on the furface by a fponge. The painting may after¬ 
wards be varniflied as a new picture ; and, if the opera¬ 
tion be well condufted, it will be transferred to the new 
cloth in a perfedl date. 
When the painting is originally on wood, it mud firft 
be detached from the ceiling or wainfcot where it was 
fixed ; and the furface of it covered with a linen cloth, 
cemented to it by means of glue, as already directed. 
A proper table being then provided, and overfpread with 
a blanket, or thinner woollen cloth, laid on in feveral 
doubles; the painting mud be laid upon it with the face 
downwards, and fixed fteady ; and the board or wood on 
which it was done mud be planed away, till the ihell 
remains as thiii as it can be made, without damaging the 
paint under it. The procefs is afterwards the fame as 
that in the cafe of paintings on canvafs, till the painting 
on wood be in like manner transferred to a cloth or can¬ 
vafs. Handm. to the Arts, vol. ii. 
To PICTURE, v. a. To paint; to reprefent by paint¬ 
ing.—Love is like the painter, who, being to draw the 
pitfuve of a friend having a blemifh in one eye, would 
picture only the other fide of his face. South. —To repre- 
fent.—Fond man, fee here thy pictur'd life. ThomJ'on's 
Winter. 
PIC'TURE-LIKE, adj. Like a pidture; according to 
the manner of a pidture.—I (confidering how honour 
would become fuch a perfon, that it was no better than 
piClure-lim to hang by the wall, if renown made it not 
dir) was pleafed to let him feek danger where he was. 
like to find fame. Shakefpeare's Coricl. 
PIC rURES'QUE, adj. [pittorejco, Italian; pittorefcjue, 
Fr. “No word correfponding to this, or of exactly 
fimilar meaning, is to be found in any of the languages 
of antiquity now’extant; nor in any modern tongue, as 
far as I have been able to difcover, except fuch as have 
borrowed it from the Italian ; in which, the earlieft 
authority, that I can find for it, is that of Redi, one of 
the original academicians of la Crufca, who flouriflied 
towards the end of the fixteenth century. In our own 
language, it has lately been received into very general 
ufe: but, neverthelefs, it has not been confidered as 
perfectly naturalized among us; for Johrifon has not 
admitted it into his Didtionary, though he has received the 
word pictorial." Knight’s Analyt. Inq. into the Princi¬ 
ples of Tafte, 1805. It has efcaped this learned critic, 
that Johnfon, in his Didtionary, has vfed the word, 
though not in its alphabetical place, which, however, is 
not the eariieft employment of the word that I have 
found. Gray ufes it feveral years before Johnfon. Todd. ] 
Exprefling that peculiar kind of beauty which is agree¬ 
able in a pidture, whether natural or artificial; ftriking 
the mind with great power or pleafure in reprefenting 
objedts of vifion, and in painting to the imagination any 
circumftance or event as clearly as if delineated in a 
pidture.—You cannot pafs along a ftreet but you have 
views of fome palace, or church, or fquare, or fountain, 
the mod piCturefque and noble one can imagine. Gray's 
Lett, to his Mother, 1740.— In a piCturefque manner; 
with a good defcription or delineation. Johnfon in V. 
Graphically, (Didl. 1755.)—View delineated ; a piCturefque 
reprefentation of a landfcape. Johnfon in V. ProhieCt. 
Vol. XX. No. 1377. 
P I C 393 
(Didl. 1772.)—Often ufed fubftantively; as, Dr. Syn¬ 
tax’s Tour in Search of the PiCturefque. —From thefe 
little fragments, the firfl of which is an example of 
the pathetic, and the fecond of the piCturefque, the 
manner of Sappho might have been gathered. War- 
ton's Ef. on Pope. —Remarkable for Angularity.—That 
I have a piCturefque countenance, rather than one 
that is efteemed of regular features. Shenjtone. —I think 
it would be ftill better to graft any wild piCturefque 
fable, abfolutely of one’s own invention, on the 
Druid flock. Grafs Letters. —Striking the imagination 
with the force of painting.— Ifaiah adds a circumftance 
inimitably piCturefque, that the fucking child fhall play 
on the hole of the afp. Jo. Wartou’s Virgil. —To be 
exprefled in painting.—Thefe three capital defcriptions 
abound with ideas, which affedl the ear more than the 
eye, and therefore are beyond the powers of piClureJque 
imitation. Mafon on Gray. —Affording a good fubjedl 
for a landfcape.— Mona is Anglefey, a tradl of plain 
country, very fertile, but piClureJque only from the view 
it has of Caernarvon (hire. Gray’s Lett, to his Mother. 
—Proper to take a landfcape from.—The piCturefque 
point is always thus low in all profpedls. Mafon on Gray. 
Picturesque Beauty, or the Picturesoue, fays a 
late writer on that fubjedl, refers to “fuch beautiful 
objedts as are fuited to the pencil.” This epithet is 
chiefly applied to the works of nature, though it will 
often apply to works of art alfo. Thofe objedts are moft 
properly denominated pidturefque, which are difpofed by 
the hand of nature with a mixture of varied rudenej's, frm- 
plicily, and grandeur. A plain neat garden, with little 
variation in its plan, and no ftriking grandeur in its pofi- 
tion, difplays too much of art, defign, and uniformity, to 
be called pidlurefque. “The ideas of neat and J'moolh 
(fays Mr. Gilpin), inftead of being pidlurefque; in fadfc 
difqualffy the objedt in which they refide from any pre¬ 
tensions to pidlurefque beauty. Nay, farther; we do not 
fcruple to affert, that roughnej's forms the moft eflential 
point of difference between the beautiful and the pidtu¬ 
refque; as it feems to be that particular quality which 
makes objedts chiefly pleafing in painting. I ufe the ge¬ 
neral term roughnefs; but properly fpeaking roughnefs 
relates.only to the furfaces of bodies : when we fpeak of 
their delineation, we ufe the word ruggednejs. Both 
ideas, however, equally enter into the pidturefque, and 
both are obfervable in the fmaller as well as in the larger 
parts of nature ; in the outline and bark of a tree, as in 
the rude fummit and craggy fides of a mountain. 
“ Let us then examine our theory by an appeal to 
experience, and try how far thefe qualities enter into 
the idea of pidturefque beauty, and how far they mark 
that difference among objedts which is the ground of our 
inquiry. A piece of Palladian architedture may be ele¬ 
gant in the Lift degree; the proportion of its parts, the 
propriety of its ornaments, and the fymmetry of the 
whole, may be highly pleafing; but, if we introduce it in 
a picture, it immediately becomes a formal objedt, and 
ceafes to pleafe. Should we with to give it pidturefque 
beauty, we muff ufe the mallet inftead of the chillel ; 
we mull beat down one"half of it, deface the other, and 
throw the mutilated members around in heaps; in fhort, 
from a finooth building we muff turn it into a rough 
ruin. No painter who had the choice of the two objedts 
would helitate a moment. Again, why does an elegant 
piece of garden-ground make-no figure on canvafs ? the 
fliape is pleafing, the combination of the objedls harmo¬ 
nious, and the winding of the walk in the very line of 
beauty. All this is true; but thej'moolhnefs of the whole, 
though right and as it ftiould be in nature, offends in pic¬ 
ture. Turn the lawn into a piece of broken ground, plant 
rugged oaks inftead of flowering flirubs, break the edges 
of the walk, give it the rudenefs of a road, mark it with 
wheel-tracks, and fcatter around a few flones and brnfh- 
wood ; in a word, inftead of making the whole fmcoth, 
make it rough, and you make it alfo pidturefque. All 
5 H the 
