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though sometimes they continue seven or eight days: notwith-standing these pains, the lochia flow properly, and generally moreabundantly after the cessation of each tit: this does not happen incolicky complaints, nor is the belly so free from tumefaction whenthe puerperal fever is attendant. As these pains are of the spas-modic kind, anodynes and gentle opiates, with frequent draughtsof warm caudle, camomile-tea, &c. are all that are required in or-der to their relief. Among the various causes of pain, a singularone is related in vol. iii. of the Lond. Med. Obs. and Icq. p. 241,
&c. Some persons who had taken cold during (heir being salivat-ed, were afflicted with pains which resisted all the usual methodsof relief. At length the author of the narrative suggested thecause ; and by exciting a fresh salivation the pains abated : thespitting was kept up a little while, and permitted to abate withsome caution ; and thus the cures were completed.
PAINSNVIG’K, a town of Gloucestershire ; 7 miles S. E. ofGloucester, and 101 W. by N. of London . Lon. 2. 11. W. Lat.51. 4(5. N.
PAINTING is the art of representing to the eyes, by meansof figures and colours, every object in nature that is discernible bythe sight; and of sometimes expressing, according to the princi-ples of physiognomy, and by the altitudes of the body, the variousemotions of tiie mind. A smooth surface, by means of lines andcolours, represents objects in a state of projection ; and may repre-sent them in the most pleasant dress, and in a manner most capa-ble of enchanting the senses. This art is entitled to claim theearliest antiquity. The scriptures furnish numerous proof; thatthe art of drawing had in very early ages arrived to considerableperfection, and the remains of Egyptian sculpture still extant,shew that people to have been tolerable proficients in delineatingthe outlines of men and animals, but the ancient Greeks appear tohave greatly exceeded in taste and correctness of figure and ex-pression. The Romans, inspired by emulation, imitated theGreeks, and although they never attained the excellence of theirmasters, have left multiplied specimens of correct knowledge inthe human outline. Long after the fall of their empire, Italy produced a succession of men who brought the art of drawing al-most to its greatest possible perfection. The ancient Persians wereso far from excelling in the arts, that the paintings of Egypt werehighly 7 esteemed among them after they bad conquered that coun-try. The only ancient painter of Persia , whose name is preserved,is Manes; an.l he is more celebrated for his attempt to accommo-date the Persian theology ot two first principles, to the ChristianSystem, than for his skill as a painter. He was famed, however,for drawing straight lines without a ruler. The paintings of Thi-bet are remarkable for the fineness of their strokes; and in thisconsists their chief merit. It is asserted by some authors, that theChinese have no idea of perspective, and that their representations,of the human figure, are mere caricature^: but we have seen Chi-nese productions, which fully fevince, that they have artists, whostand in the first rank, as painters of the human form ; and whoare well versed in the principles of perspective. The ancient in-habitants of Etruri, were the first who connected the arts with thestudy of nature. In some of their monuments which still remain,there is to be observed a first style, which shews the art in Us in-fancy ; and a second, which, like the works of the Florentine ar-tists, shews more of greatness and exaggeration in the characterthan precision or beamy. Pliny says that painting was carried togreat perfection in Italy before the foundation of Home ; but itappears that even in his time the painters of Etruria were held ingreat reputation. The only Etrurian paintings, which remain,have been found in the tombs of the Tarquins. They consist oflong painted frizes, and pilasters adorned with huge figures, whichoccupied the whole space from the base to tire cornice. Thesepaintings are executed on a ground of thick mortar, and many ofthem are in a state of high preservation. The art of painting may heconsidered as in its infancy in Greece , till about B. C. 400, w henZeuxis and Parrhasius flourished. By Apelles, Protogene ?, andEuphranor , the art was carried to the greatest height of perfection.Grace, symmetry, proportion, and illusion, were now added hythe greatest masters to the noblest objects of nature. The paint-ings of the ancient artists were either moveable; or on the ceilingsor compartments of buildings. According to Pliny , the mosteminent were those who painted moveable pictures. The latter wereeither on firwood, larch, boxwood, or canvas; sometimes on mar-ble. When they employed wood, they laid on first a whiteground. Among the antiquities of the Herculaneum are four
paintings on white marble. Their immoveable paintings on wallswere either in fresco, or on dry stucco in distemper. Indeed allthe ancient paintings may be reduced to, first, fresco-painting ;secondly, water-colour, or distemper-painting on a dry ground ;and, thirdly, encaustic painting. The ancient fresco-paintings ap-pear to have been always on a white stucco-ground, the coloursinlaid very deep, and the drawing much more bold and free thanany similar performance of modern art. The outlines of the an-I dent paintings on fresco were probably done at once, as appearsfrom the depth of the incision and the boldness and freedom of thedesign, equal to the care and spirit of a pencilled outline. In ge-neral the ancients painted on a dry ground, even in their build-ings, as appears from the Ilerculanean antiquities, most of whichare executed in this manner. At Home and Naples, the first(deepest) coat is of true l’uzzolana, of the same nature with theterras now used in mortar, required to keep out wet, about onefinger thick ; the next of ground marble or alabaster, and some-times of pure lime or stucco, in thickness about one-third of theformer. Upon this they appear to have laid a coat of black, andthen another of red paint; on which last the subject itself was ex-ecuted. Such seems to have been their method of painting onwalls; but in (heir moveable pictures, and in the performance oftheir first artists, and where the effects of shade and light were ne-cessary, (hey doubtless used white. The colours employed theyseem io have mixed up with size, of which they preferred thatmade by boiling the ears and genital's of bulls. This appears tohave made the colours so durable and adhesive, that the ancientpaintings lately found bear washing with a soft cloth and water;and sometimes even diluted aquafortis is employed to clean theirpaintings on fresco. Pliny says that glue, dissolved in vinegarand then dried, is not again soluble. What the encaustic paintingof the ancients was, has been much disputed. From the works ofVitruvius and Pliny , it appears evidently that it was of threekinds: 1. Where a picture painted in the common wav, wascovered with a varnish of wax melted, diluted with a little oil,and laid on warm with a brush. 2. Where the colours themselveswere mixed up with melted wax, and the mixture used whilewaim. And, 3. Where a painting was executed on ivory bymeans of the cestrum or ,viriculum. Of white colouring sub-stances, the ancients had white lead variously prepared, a white,from calcined egg-shells, and preparations from cretaceous and ar-gillaceous eartlTs. The moderns in addition have magisterv ofbismuth, little used ; and ought to have the calces of tin anti zinc.
! Of blacks, the ancients bad preparations similar to lamp, ivory,
I blue, and Frankfort black ; also to Indian ink and common wnl-j ing ink; and they used wdiat we do not, the precipitate of thei black dyers’ vats. ’ The ancients possessed a species of VermillionI or fine cinnabar, a coarser cinnabar, red lead, various earths burnt■ and unburnt, apparently similar to our red ochre ; Venetian red,.! Indian red, Spanish brown, burnt terra de Sienna, and scarletj ochre ; they had also a substance alike in colour and in name to: our dragon’s blood. The yellow pigments oi the ancients weregenerieally the same with our orpiments, king’s yellow, Naples• yellow, &r. They did not possess turbilh mineral, mineral -yel-' low, or gamboge ; nor do they appear to have known of gall-stone as a p-gment. Of bine paints they had preparations from, the lapis syanus and lapis annenus. Indigo they had, and perhapsbice and smelt ; for they made blue glass, but w hether from someore of cobalt or of wolfram must be uncertain : they had not Prus-t si:m