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with a confiderable i>/2/e«.'S will break thro' the Interftices of the Fibres, where it is lefs than the Capacity of fuch Interfti- ces, and moved obliquely : And becaufe the Superficies of the Fibres are not wont to be contained under Geometrical Right Lines, but to have Particles {landing out and prominent; thefe it divides from one another. And thus any Body, of whatsoever Figure, may occafion in us Pain, fo it be big enough to diftend the VefTels beyond their wonted Meafure, or finall enough to enter the Pores in the Sides of a Canal, with an Impetus in the Manner intimated.
And what is thus advanced, with relation to Things within the Veffels, may be eafily apply'd to others out of the VefTels. PAIN, in Medicine, confider'd as a Symptom of a Difeafe, makes a confiderable Article in a Palliative Cure. See Pal- liative.
Pain is mitigated or affwaged divers Ways; as i. by dilu- ting and foftening of Acrimonies, with warm Water mix'd with Flower apply'd by way of Drink, Fomentation, Clyfter or Bath. 2. By refolving and wa/hing away Obstructions, by the fame Means and Refolvents. 3. By relaxing the nervous VefTels, with Drinks, Fomentations, Baths, the Species of Relaxants, Anodynes and Aperients. 4. By correcting the Acrimony itfelf with proper Remedies. 5. By freeing the ob- ilruent, obftructed, and acrimonious Parts from the too much PrefTure of the vital Humour; and by foftening, and fuppura- ting, and depurating 'em. 6; By rebating or deadening the Senfe by Narcoficks, either internally or externally. See Narco- tic k, SSfc.
PAIN fort y ££? dure, in Law, an efpecial Punifhment for one, who being arraigned of Felony, refufes to put himfelf upon the ordinary Trial of God and his Country, and thereby ttands mute by the Interpretation of Law. See Mute.
This is vulgarly called Preffing to Death. The Procefs whereof is thus prefcribed :
" He fhall be fent back to the Prifon, whence he came, " and be laid infomelow dark Houfe; where he {hall lie naked " on the Earth, without any Litter, Rufhes, or other Cloathing, " and without any Raiment about him, but only fomethlng to " cover his Privy-Members; and he fhall lie upon his Back " with his Head covered, and his Feet; and one Arm (hall
- be drawn to one Quarter of the Houfe, with a Cord, and
" the other Arm to another Quarter, and his Legs in the fame " Manner : Let there be laid upon his Body Iron, or Stone, as ' " much as he may bear,or more; and the next Day following, " he fhall have three MoiTeis of Barley-Bread withou: Drink; " and the fecond Day he fhall have Drink three Times, as
- much at each Time as he can drink, of the Water next un-
" to the Prifon, except it be running Water; without any " Bread: And this fhall be his Diet, till he dies. PAINIM, the fame with Pagan. See Pagan. PAINTING, the Art of reprefenting natural Bodies, and giving 'em a Kind of Life, by the Turn of Lines, and the Degrees of Colours.
painting is faid to have had its Rife among the Egyptians: And the Gn'e.tj, who learn'd it of 'em, carried it to its Perfecti- on; if we may believe the Stories related of their Apelks, and Zeuxis.
The Romans were not without confiderable Matters in this Art, in the iater Times of the Republic, and under the firft Emperors; but the Inundation of Barbarians, who ruin'd 'Italy, proved fatal to Painting, and almoft reduced it to its firft Elements. It was in Italy, however, that the Art re- turned to its ancient Honour, and in the Beginning of the XVth Century; when Cimabue, betaking himfelf to the Pencil, tran- flated the poor Remains of the Art, from a Greek Painter or two, into his own Country.
He was feconded by fome Florentines : The firft who got any Reputation was Ghirlandaio, Michael Angers Mafter; Pietro pert'gino, Raphael UrhinU Mailer; and Andrea Verocchio, Leonardo Z)a Vinci's Mafter.
But the Scholars far furpaffed the Matters 5 they not only effaced all that had been done before 'em, but carried Painting to a Pitch from which it has ever fince been declining.
'Twas not by their own noble Works alone that they advane'd Painting 5 but by the Number of Pupils they bred up, and the Schools they form'd.
Angeh, in particular, founded the School of Florence; Ra- phael, the School of Rome; and Leonardo, the School of Mi- lan; to which muftbe added, the Lumbard School, eftablifh'd about the fame time, and which became very confiderable under Georgian and 'Titian. See School.
Befides the Italian Matters, there were others on this Side the Alps, who had no Communication with thofe of Italy; fuch were Albert Durer, in Germany; Holbens, in Switzerland; Lu- cas, in Holland; and others in France and Flanders: but Italy, and particularly Rome, was the Place where the Art was pra- ctis'd with the greateft Succefs 5 and where, from Time to Time, the greateft Matters were produced.
To Raphael's School, fucceeded that of the Caraches, which has lafted, in its Scholars, almoft to the prefent Time; wherein the French Painters, bythe Munificence of the late Louis XIV. feem almoft in Condition to vie with thofe oiGreece or Italy.
In 'Paris they have two confiderable Bodies of Painters, the one^ the Royal Academy of 'Painting and Sculpture, the other the Community of Mafters in Painting, Sculpture, &c. See Academy.
The Art of Painting is divided, by Frefnoy, into three principal Parts, Invention, Tiefxgn, and. Colouring^ to whLH ibme add a fourth, viz'. T)ifpofitwn.
Felibien divides Painting into the Compaction, ths T)efgn s and Colouring.
Monf. Tejtling, Painter to the late King, divides it, fome- what more accurately, into the Tiejign or Ltraught, the Pro- portion, the JExpreJJion, the Clair-cbjcure, theOrdo?mance,&n& the Colouring; to which his Englip Translator adds the Per- fpeBive. Under each of thefe Heads, he gives us the Rules and Sentiments of the belt Matters, which fee under their proper Articles in this Dictionary, Design, Proportion, Expression, Clair-Obscure, Ordonnance, Colour- ing, gfifo
Painting is of various Kinds, with regard to the Materials us'd; the Matter whereon they are applied; and the Manner of applying 'em.
Hence come Painting in Oil; Painting in Water- Col ours, or Limning; Painting in Frefco; Painting on Glafs; Paint- ing in Enamel; and Painting in Miniature.
Painting in Oil. The Art of Painting in Oil was un- known to the Ancients; and it was a Flemiflj Painter, one John van Eyck, or John de Bruges, who firft difcover'd and putk in practice in the Beginning of the XI Vth Century : 'Till him, all the Painters wrought in Frefco, or in Water-Co lours.
This was an Invention of the utmoft Advantage to the Art; fince, by means hereof, the Colours of a Painting arepreferv'd much longer and better, and receive a Luttre and Sweetnefa which the Ancients cou'd never attain to, what Varnifh fbever they made ufe of to cover their Pieces.
The whole Secret onlyconfifts in grinding the Colours with Nut-Oil or Linfeed Oil: But it muftbe own 'd, the Manner of Working is very different from that in Frefco, or in Water; by reafon the Oil docs not dry near fofaft; which gives the Painter an Opportunity of touching and retouching all the Parts of his Figures, as often as he pleafes; Which, in the other Kinds, is a Thing impracticable.
The Figures too are here capable of more Force and Bold- nefs; in as much as the Black becomes blacker, when ground with Oil than with Water; befides that, all the Colours, mixing better together, make the Colouring fweeter, more delicate and agreeable, and give an Union and Tendernefs to the whole Work, inimitable in any of the other Manners.
Painting in Oil is perfbrm'd on Walls, on Wood, Canvas Stones and all Sorts of Metals.
5To Paint gm aWaU: when well dry,they give ittwoor three Wafh.es of boiling Oil; till the Plafter remain quite greafy,and will imbibe no more. Over this they apply defficcative or drying Colours,u/s.white Chalk, red Oker, or other Chalks beaten pret- ty ft iff. This Couch or Lay being well dry, they sketch out, and defign their Subject; and at laft paint it over.mixing a littleVar- nifh with their Colours; to fave the Varnifhing afterwards.
Orhers,to fortify their Wall the betteragainft Moitture,cover it with a Plafter of Lime, Marble-Duft, or a Cement made of beaten Tiles foak'd with Linfeed Oil; and at laft prepare a Competition of Greek Pitch, Mattie and thick Varnifh boil'd together, which they apply hot over the former Plafter : When dry, they lay on their Colours as before.
Others, infinc, make their Plafter with Lime-Mortar, Tile- Cement, and Sand; and this dry, apply another of Lime, Cement, and Machefer or Iron Scum; which being well beat- en and incorporated with Whites of Eggs and Linfeed Oil, makes an excellent Couch or Plafter. When dry, the Colours are applied as before.
To Paint on Wood; they ufually give their Ground a Couch or Lay of White temper'dwith Size; or they, apply the Oil abovementioned : The reft, as in Painting on Walls.
To Paint on Linnen or Canvas; the Canvas being ftretch'd on a Frame, they give it a Couch or Lay of Size : When dry, they go over it with a Pnmice-Stone, to fmooth off the Knots. By means of the Size the little Threads and Hairs are all laid clofe on the Cloth, and the little Holes ftopp'd up, fo as no Colour can pafs thro'.
When the Cloth is dry, they lay on Oker, which is a natural Earth, and bears a Body; fometimes, mixing with it a little white Lead to make it dry the fooner. When dry, they go over it with the Pumice-Stone to make it fmooth.
After this, they fometimes add a fecond Lay compofed of white Lead, and a little Charcoal Black, to render the Ground of an A(h-Colour,obferving in eachManner to lay on as little Co- lour as poffible, that the Cloth may not break,andthat the Co- lours,when they come to be painted over,may preferve the better. In fome Paintings of Titian and Paolo Veronefe we find they made their Ground with Water, and painted over it with Oil; which contributed much to the Vivacity and Frefhnefs of their Works: For the Water Ground, by imbibing the Oil of the Colours, leaves them the more beautiful j the Oil itfelf taking away a deal of their Vivacity.
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