method of painting among the ancients, in which wax was employed to give a gloss to the colours, and to preserve them from injury.

This ancient and lost art was in a manner revived by Count Caylus, who announced his method to the Academy of Painting and Belles-Lettres in the year 1753; though M. Bachelier, the author of a treatise De l'Histoire et du Secret de la Peinture en Cire, had produced a picture in wax in 1749; and was the first who communicated to the public the method of performing the operation of imusion, which is the principal characteristic of encaustic painting. The count kept his method a secret for some time, but exhibited at the Louvre, in 1754, a picture representing the head of Minerva, painted in wax, which excited much curiosity. In the interval of suspense several attempts were made to recover the ancient method of painting; such as that of melting wax and oil of turpentine together, and using this composition as a vehicle for the colours. But this method did not explain Pliny's meaning, as in this way of managing it the wax is not burnt. In another attempt, the wax was melted with strong lixivium of salt of tartar, and with this the colours were ground. When the picture was finished, it was gently heated, so as to melt the wax, and diffuse it through all the particles of the colours; and thus they were fixed to the ground, and secured from the access of air or moisture. But the method of Count Caylus was much more simple. The canvas or panel was waxed over by rubbing it simply with a piece of bees-wax; the panel or canvas being held before a fire, that the wax might gradually penetrate the body, and fill the interstices of the texture of the cloth, which when cool was painted upon; but as watercolours, or those which are mixed up with common water, will not adhere to the wax, the count directs that the canvas or panel thus prepared be first rubbed over with Spanish white. When the picture is dry, it is to be placed near a fire, when the wax melts and absorbs the colours.

Mr J. H. Muntz, in a treatise on this subject, proposed several improvements. If the painting be on cloth, he directs it to be prepared by rubbing one side several times over with a piece of virgin wax, till it be coated to a considerable thickness. In fine linen this is the only operation necessary previous to painting; but coarse cloth must be smoothed on the unwaxed side with a pumice-stone. The subject is then to be painted on the unwaxed side with colours prepared and tempered with water; and when the picture is finished, it is to be exposed to the fire, that the wax may melt and fix the colours. Crayons may be used in a similar manner.