a word derived from pan and scope; and therefore employed of late to denote a painting, whether in oil or water colours, which represents an entire view of any country, city, or other natural objects, as they appear to a person standing in any situation, and turning quite round. To produce this effect, PAN

The painter or drawer must fix his station, and delineate correctly and connectedly every object which presents itself to his view as he turns round, concluding his drawing by a connection with where he began. He must observe the lights and shadows, how they fall, and perfect his piece to the best of his abilities. There must be a circular building or framing erected, on which this drawing or painting may be performed; or the same may be done on canvas, or other materials, and fixed or suspended on the same building or framing, to answer the purpose complete. It must be lighted entirely from the top, either by a glazed dome, or otherwise as the artist may think proper. There must be an inclosure within the said circular building or framing, which shall prevent an observer going too near the drawing or painting, so as it may, from all parts it can be viewed, have its proper effect. This inclosure may represent a room, or platform, or any other situation, and may be of any form thought most convenient; but the circular form is particularly recommended. Of whatever extent this inside inclosure may be, there must be over it (supported from the bottom, or suspended from the top) a shade or roof; which, in all directions, should project so far beyond this inclosure, as to prevent an observer from seeing above the drawing or painting when looking up; and there must be without this inclosure another interception, to represent a wall, paling, or other interception, as the natural objects represented, or fancy, may direct, so as effectually to prevent the observer from seeing below the bottom of the drawing or painting; by means of which interception, nothing can be seen on the outer circle but the drawing or painting intended to represent nature. The entrance to the inner inclosure must be from below, a proper building or framing being erected for that purpose, so that no door or other interruption may disturb the circle on which the view is to be represented. And there should be, below the painting or drawing, proper ventilators fixed, so as to render a current circulation of air through the whole; and the inner inclosure may be elevated, at the will of an artist, so as to make observers, on whatever situation he may wish they should imagine themselves, feel as if really on the very spot.

PAPER is an article of such importance, and at present* of so enormous a price, that no improvement in its manufacture should pass unnoticed in a work of this nature. The discovery made in France by M. Bertholet of the efficacy of oxy-muriatic acid in expediting the process of BLEACHING (see that article in this Suppl.), has contributed essentially to facilitate the manufactures, not only of cotton and linen cloths, but also of paper, of which it has even increased the materials. Formerly writing paper could be made of unprinted linen alone; but by means of the process of M. Bertholet even printed linen may be made into the finest and whitest paper. In the year 1795 a patent was granted to Mr Elias Carpenter of Bermondsey, Surrey, for a method of bleaching paper of such materials in the water-leaf or sheet, and fixing it without drying.

In the preparation of the pulp, the coarser rags are to be macerated for two or three days in a caustic alkaline ley, and wrought into sheets of paper in the usual way; a strong wooden box or trough is then to be procured, of a size proportioned to that of the paper, lined on the inside with white paint, and furnished with several stages of cross bars of glass; the bottom of the box is to be covered with a stratum about one inch deep of caustic ley, and the paper laid by quarter reams, or less, across the glass bar. A hole must be made in the box to admit the neck of an earthen-ware retort, into which must be put manganese and sea salt, in powder, sulphuric acid, and an equal quantity of water impregnated with the fumes of burning sulphur (sulphurous acid). The cover of the box is to be made air-tight by luting or clips of paper dipped in paste. The apparatus being thus prepared, the belly of the retort is to be plunged in water, kept boiling, and in a short time the oxy-muriatic gas will be driven into the box, will penetrate the paper, and render it of a dazzling whiteness, while the alkaline ley at the bottom will, by gradually absorbing it, prevent its becoming so concentrated as to destroy or injure the texture of the paper. From three to four pounds of sulphuric acid will suffice for one hundred weight of paper, and the operation will be completed in about eight hours. The sheets as they are taken out of the box are to be fixed with the following mixture:

To 1 cwt. of clippings of skin add 14 lb. of alum, 7 of calcined vitriol, and 1 lb. of gum arabic, with a sufficient quantity of water to size 50 reams of fools-cap.

The same method will serve equally well to clean engravings or printing; for though the oxy-muriatic acid discharges all stains, dirt, &c. yet it is incapable of acting on printers ink.

This, however, is not the only improvement in the manufacture of paper derived from modern chemistry. In Crichton's Chemical Annals for the year 1797, we have an account of some curious experiments made by M. L. Brugnatelli, with the view of rendering

PAPER incombustible, and the writing on it, of course, indestructible by fire. Of all the substances which he tried, he found the liquor of flints the most proper to secure paper from destruction by fire. He dipped a sheet of paper several times in the above liquor fresh made, or daubed it several times over the whole paper with a hair brush, and dried it in the sun or in an oven. Paper prepared in this manner lost some of its softness, became a little rougher than before, and acquired a lustrous caustic taste. In other respects it was not different from common white paper. When this paper was laid upon glowing coals, it did not burn like common paper, but became red, and was converted to a coal, which however did not fall into ashes like the coal of common paper, so that it might therefore be considered as petrified paper. This coal, however, is exceedingly friable; for when it is taken between the fingers, or pressed together in any manner whatever, it drops to pieces. Still the discovery must be a valuable one, if there be any kind of ink of such a nature as that the characters written with it continue visible on this coal. Such an ink M. Brugnatelli made by combining dissolved nitrate of zinc with common ink; and found, that the colour of this mixture, though it appeared somewhat pale on common paper, became so dark on prepared paper, that words written with it appeared more conspicuous than words written with common ink. When the paper was burnt, or reduced to a coal, those characters were so visible, in a clear white colour on a dark ground, that they could be read with as much ease as characters written with the best ink on white. Parabolic white paper. If the ingenious author succeed in his attempts to discover a method of rendering his prepared paper less friable when burnt, his discovery will be one of the most important of the present age.