in simple convincing language, it was read everywhere, and the | attacking his military reputation and his presidential policy with open movement to independence dates from its publication. inexcusable bitterness. In 1802 Paine sailed for America, but Washington said that it "worked a powerful change in the minds while his services in behalf of the colonies were gratefully of many men." Leaders in the New York Provincial Congress remembered, his Age of Reason and his attack on Washington considered the advisability of answering it, but came to the had alienated many of his friends. He died in New York on the conclusion that it was unanswerable. When war was declared, 8th of June 1809, and was buried at New Rochelle, but his and fortune at first went against the colonists, Paine, who was body was in 1819 removed to England by William Cobbett. then serving with General Greene as volunteer aide-de-camp, See the biography by Moncure D. Conway (1892). wrote the first of a series of influential tracts called The Crisis, PAINESVILLE, a city and the county-seat of Lake county, of which the opening words, "These are the times that try Ohio, U.S.A., on the Grand River, 3 m. S. of Lake Erie and about men's souls," became a battle-cry. Paine's services were 30 m. N.E. of Cleveland. Pop. (1900) 5024, of whom 499 were recognized by an appointment to be secretary of the commission foreign-born and 179 negroes; (1910) 5501. It is served by sent by Congress to treat with the Indians, and a few months the Lake Shore & Michigan Southern, the New York, Chicago & later to be secretary of the Congressional committee of foreign St Louis and the Baltimore & Ohio railways, and by electric affairs. In 1779, however, he committed an indiscretion that lines to Cleveland, Fairport and Ashtabula. It is the seat of brought him into trouble. He published information gained Lake Erie College (non-sectarian, for women), the successor of from his official position, and was compelled to resign. He was Willoughby Seminary (1847), whose buildings at Willoughby, afterwards clerk of the Pennsylvania legislature, and accom- Ohio, were burned in 1856; the college was opened as the Lake panied John Laurens during his mission to France. His Erie Female Seminary in 1859, and became Lake Erie College and services were eventually recognized by the state of New York Seminary in 1898 and Lake Erie College in 1908. Painesville. by a grant of an estate at New Rochelle, and from Pennsylvania | is situated in a farming and fruit-growing country, and also has and, at Washington's. suggestion, from Congress he received some manufactures. Three miles north, on Lake Erie, is the considerable gifts of money. village of Fairport (pop. in 1900, 2073), with a good harbour and coal and ore docks. The municipality owns and operates its waterworks and street-lighting plants. Painesville was founded in 1800-1802 by settlers from Connecticut and New York, conspicuous among whom was General Edward Paine (17461841), an officer from Connecticut in the War of Independence; it was incorporated as a village in 1832, and became a city in 1902 under the new Ohio municipal code. In 1787 he sailed for Europe with the model of an iron bridge he had designed. This was publicly exhibited in Paris and London, and attracted great crowds. In England he determined to open the eyes of the people to the madness and stupidity of the government." His first efforts in the Prospects on the Rubicon (1787) were directed against Pitt's war policy, and towards securing friendly relations with France. When Burke's Reflections on the Revolution in France appeared, in 1790, Paine at once wrote his answer, The Rights of Man. The first part appeared on the 13th of March 1791, and had an enormous circulation before the government took alarm and endeavoured to suppress it, thereby exciting intense curiosity to see it, even at the risk of heavy penalties. Those who know the book only by hearsay as the work of a furious incendiary will be surprised at the dignity, force and temperance of the style; it was the circumstances that made it inflammatory. Pitt "used to say," according to Lady Hester Stanhope, " that Tom Paine was quite in the right, but then he would add, 'What am I to do? As things are, if I were to encourage Tom Paine's opinions we should have a bloody revolution.'" Paine was indicted for treason in May 1792, but before the trial came off he was elected by the department of Calais to the French convention, and escaped into France, followed by a sentence of outlawry. The first years that he spent in France form a curious episode in his life. He was enthusiastically received, but as he knew little of the language translations of his speeches had to be read for him. He was bold enough to speak and vote for the "detention of Louis during the war and his perpetual banishment afterwards," and he pointed out that the execution of the king would alienate American sympathy. He incurred the suspicion of Robespierre, was thrown into prison, and escaped the guillotine by an accident. Before his arrest he had completed the first part of the Age of Reason, the publication of which made an instant change in his position on both sides of the Atlantic, the indignation in the United States being as strong as in England. The Age of Reason can now be estimated calmly. It was written from the point of view of a Quaker who did not believe in revealed religion, but who held that "all religions are in their nature mild and benign" when not associated with political systems. Intermixed with the coarse unceremonious ridicule of what he considered superstition and bad faith are many passages of earnest and even lofty eloquence in favour of a pure morality founded on natural religion. The work in short-a second part, written during his ten months' imprisonment, was published after his release-represents the deism of the 18th century in the hands of a rough, ready, passionate controversialist. At the downfall of Robespierre Paine was restored to his seat in the convention, and served until it adjourned in October 1795. In 1796 he published a long letter to Washington, PAINTER-WORK, in the building trade. When work is painted one or both of two distinct ends is achieved, namely the preservation and the coloration of the material painted. The compounds used for painting-taking the word as meaning a thin protective or decorative coat-are very numerous, including oil-paint of many kinds, distemper, whitewash, tar; but the word "paint" is usually confined to a mixture of oil and pigment, together with other materials which possess properties necessary to enable the paint to dry hard and opaque. Oil paints are made up of four parts-the base, the vehicle, the solvent and the driers. Pigment may be added to these to obtain a paint of any desired colour. There are several bases for oil paint, those most commonly used for building work being white lead, red lead, zinc white and oxide of iron. White lead is by far the commonest of bases for paint. When pure it consists of about 75% carbonate of lead and about 25% of lead hydrate. It is mixed with 6 or 7% by weight of pure linseed oil, and in this form is supplied to the painter. Sulphate of baryta is the chief adulterant used in the manufacture of white lead. White lead has greater covering properties and is more durable than the other bases. It should therefore always be used in external painting. Paints having white lead for a base darken with age, and become discoloured when exposed to the fumes of sulphuretted hydrogen, which exists to a greater or less extent in the air of all large towns. Zinc white, an oxide of zinc, is of a purer white colour than white lead. It is lighter, and does not possess the same durability or covering power. It is, however, useful in internal decoration, as it retains its colour well, even when subjected to the action of gases. Red lead is a lead oxide. It is used chiefly in the priming coat and as a base for some red paints. Like white lead, it is injured if exposed to acids or impure air, which cause discoloration and decay. Oxide of iron is used chiefly as a base in paints used for covering iron-work, the theory being that no destructive galvanic action can be set up, as might be the case with lead paint when used on iron. A variety of red pigments are made from oxide of iron, varying in hue from a pale to a deep brownishred. They are quite permanent, and may be used under any conditions. The vehicle is a liquid in which the particles of the base are held in suspension, enabling a thin coat of paint to be formed, uniform in colour and consistency, and which on drying forms 458 as PAINTER-WORK a kind of skin over the surface to which it is applied. For oil | Baltic, and particularly in Prussia. It makes a hard, durable paint the vehicles used are oils; for distemper water is employed. and slow-drying varnish which does not darken with age. Copal The oils used as vehicles are chiefly linseed oil, raw and boiled, gum is brought from the West India Islands and also from the and poppy-seed oil. Nut oils are occasionally used for inferior East Indies. It makes the most durable varnish, and being work because they are much cheaper. Linseed oil, the one tough and hard is generally used for external work. Gum animé, most commonly used, is obtained from the seeds of the flax is a variety of copal found in the sandy soil of the East Indies. by warming it and squeezing out the oil under hydraulic pressure. It is hard, durable and quick-drying, but unless the varnish The resultant, which is of a transparent amber colour, is known is carefully made it is liable to crack. Varnishes for inside work, " raw "oil. It is used principally in interiors for light, bright or cabinet varnishes, are made with a variety of resins dissolved colours, drying somewhat slowly and giving a firm elastic coat. in linseed oil and turpentine. The resultant gives a hard, The oil improves by keeping, and is sometimes" refined" with lustrous surface, somewhat less durable than that of carriage acids or alkalies. "Boiled" oil is the raw oil heated with driers, varnishes. Turpentine varnishes are made from soft gums, such as litharge or red lead, to a temperature from 350° to 500° F., such as dammar, common resin and mastic; they are light in at which it is maintained for three or four hours. It is thick colour, cheap and not very durable. Lacquers or spirit varnishes are made from very soft gums, such as shellac and sandarach, and much darker in colour than the raw oil, drying much more quickly, with a coat hard and glossy but less elastic than that dissolved in methylated spirit. They are used for internal work, produced by raw oil. Poppy-seed oil is expressed from the seeds drying quickly, and becoming hard and very brilliant. Surfaces of the poppy plant. It does not possess the tenacity and quick- formed with such varnishes are liable to chip easily and scale drying powers of boiled linseed oil, but being of a very light colour off. Oil paint is very much improved by the addition of some varnish; it causes it to dry harder and more quickly and with it is used for delicate colours. a fine lustrous surface. Turpentine is used as a solvent, diluent, or " thinner," to bring the paint to a proper consistency so as to allow it to be spread in a thin even coat. When a flat dull surface is desired, turpentine alone is used with the base and the oil is omitted. The best turpentine comes from the pine forests of America. French turpentine is next in quality. Russian turpentine is the cheapest, and has usually a strong and unpleasant odour that renders it objectionable to work with. In consequence of the high price of turpentine of good quality, and the increasing difficulty of obtaining it, substitutes are coming into general use. " "Driers are substances usually added to paint to hasten the process of oxidation, i.e. the drying, of the oil. Some pigments possess this quality, as red lead and white lead. The most notable driers are litharge, sugar of lead, patent driers, sulphate of zinc and manganese dioxide. Liquid driers, such as terebene, are also in use. Litharge, an oxide of lead, is in most general use. Sugar of lead is used, ground in oil, for light tints. Sulphate of zinc and manganese driers are used for paints in which zinc white is the base, which would be injured by lead driers. "Pigments" are preparations of metallic, earthy or animal origin mixed into paint to give it colour. For oil paint they are usually ground in oil; for distemper they are sold as a finely ground powder. The ordinary pigments are white lead, zinc white, umbers, siennas, ochres, chromes, Venetian red, Indian red, lamp black, bone black, vegetable black, ultramarine, Prussian blue, vermilion, red lead, oxide of iron, lakes and Vandyke brown. The term "enamel paint " was first given to a compound of zinc white, petrol and resin, which possessed on drying a hard glossy surface. The name is now applied to any coloured paint of this nature. Quick-drying enamels are spirit varnishes ground with the desired pigment. For slow-drying enamels oil varnishes form the vehicle. Woodwork is often treated with a thin transparent-coloured liquid which changes the colour of the work without hiding the grain of the wood, and if the latter is good a very fine result is obtained. Sometimes the stain is produced by the combination of two or more chemicals applied separately, or soluble pigments may be mixed with a transparent vehicle and applied in the usual way. The vehicles for the pigments vary considerably, and include water, methylated spirit, size, turpentine and clear raw linseed oil. Varnish is made by dissolving certain gums in linseed oil, turpentine, spirit or water. They give a transparent protective coat to painted and stained surfaces or to wall-paper or plain woodwork. Varnishes usually dry with a very smooth, hard and shiny surface, but "flat" or "dead" surfaces which are without gloss may be obtained with special varnish. The gums used for hard-wearing or carriage varnishes, such as those to be exposed to the weather and frequently cleaned and polished, are amber, copal and gum animé. Amber is a yellow transparent or clouded gum found on the coasts of the The driers used for varnish are generally acetate of lead or litharge. An excess of driers makes the varnish less durable and causes cracking. There are many kinds of French polishes, mixed in different ways, but most are composed of shellac and sandarach dissolved in spirit. It is applied to the perfectly smooth surface of hard woods with a pad of flannel or wadding wrapped in linen, and well rubbed in with a circular motion. A dull polish is procured by rubbing beeswax into the wood. It must be thoroughly rubbed in, a little turpentine being added as a lubricant when the rubber works stiffly. If paint were applied over the bare knots of new wood it would be destroyed, or at least discoloured, by the exudation of resin from the knots. For the purpose of obviating this the knots are covered with two coats of a preparation called 'knotting," made by dissolving shellac in methylated spirit. Putty is required for stopping nail-holes and small crevices and irregularities in woodwork. It is made of powdered whiting and linseed oil mixed together and kneaded into a stiff paste. For light work" hard stopping," made of white lead and whiting, should be employed. The tools and appliances of the painter are mixing pots, paint kettles to hold the colour for the painter at work, strainer, palette knife, scraping knife, hacking, stopping and chisel knives, the hammer, sponge, pumice, blow-lamp for burning off, and a variety of brushes, such as the duster, the ground brush, the tool, the distemper brush, the fitch and camel-hair pencil for picking out small parts and lines, the sable and flogger for gilding, the stippler; for grained work several steel graining combs with coarse and fine teeth, graining brush of hogs' hair, pencil overIt is absolutely grainer, and other special shaped brushes used to obtain the peculiar characteristics of different woods. necessary for good work to use brushes of a fine quality, and although expensive at first cost, they are undoubtedly cheapest in wear. Workmanship.-New woodwork requires to be knotted, The priming coat is a thin coat of white primed, stopped, and in addition painted with three or four coats of oil colour. lead, red lead and driers mixed with linseed oil and turpentine. Work should always be primed before the stopping is done. The second or "lead" coat is composed mainly of turpentine, linseed oil and white lead. The third coat is the ground for the finishing colour, and is made of white lead and linseed oil and turpentine, with enough pigment to bring it to a tint approaching the finishing colour. The remaining coat or coats is of similar composi tion. A "flatting" coat is made of white lead and turpentine with the desired pigment. One pound of colour will cover 4 sq. yds. in the first coat and 6 sq. yds. in the additional coat. to Graining.-Graining is understood aniong painters to be the After imitating of the several different species of ornamental woods, as satinwood, rosewood, mahogany, oak and others. the necessary coats of paint have been put on to the wood a ground is then laid of the required tint and left to dry. The painter then prepares small quantities of the same colour with a little brown, and boiled oil and turpentine, and, having mixed this, spreads it over some small part of his work. The flat hogs' hair brushes being dipped in the liquid and drawn down the newly-laid colour, the shades and grainings are produced. To obtain the mottled appearance the camels' hair pencils are applied, and when completed the work is left to dry, and after-exposed to heat, or the application of one coat upon another wards covered by a coat or two of good copal varnish. Imitation wainscot requires the use of combs of various degrees of fineness to obtain the grain (whence the process is called combing by some persons), and the flower is got by wiping off the colour with a picce of rag. When dry it is over-grained to obtain a more complete representation of the natural wood, and then varnished. If the work be done in water-colour and not in oil, beer grounds to act as a drier are mixed with the colour; this sets it ready for varnishing. A "patent graining machine," a sort of roller with a pattern upon it, is often used. Marbling.-Marbling is the imitation of real marbles and granites, some of which are represented by splashing on the carefully prepared ground, which should have been painted and often rubbed and polished to obtain an even surface; others have to be painted in colours, and then well varnished. Painting on Plaster Work.-Plastering should never be painted until it is thoroughly dry. Portland cement is best left for a year or two before being painted. Plaster work not previously painted will require four or five coats, Portland cement five or six. If plastered work is required to be painted immediately, it should be executed in Keene's or Parian cement (see PLASTER WORK). A great deal more paint is of course absorbed by plaster than by wood, just as wood absorbs more than iron. Painting on Iron.-Iron and steel work should receive a coat of oxide paint at the manufacturer's works; additional coats are added after erection. All rust should be previously removed by means of wire brushes and paraffin or turpentine. The best paints for external iron work are composed of oxide of iron and red lead, mixed with linseed oil. Blistering and Cracking. The blistering of painted surfaces may be caused in several ways. If on iron, it may be the result of a particle of rust which, not having been removed in the process of cleaning, has increased in size and loosened the paint. If on plaster, a particle of unslaked lime may have "blown," with a similar result. On wood, blistering is usually caused by painting upon a wet surface or upon unseasoned wood. Blisters may also be caused by the use of too much oil in paint before the latter is properly dry. To prevent blistering a method that has been tried with good results is to apply two coats of water paint (washable distemper) and follow by two coats of oil colour or varnish. Cracking is caused by the use of too much oil in the under coats and too little in the top coats. Distemper.-New plaster-work must be quite dry before distemper is applied. The work should be stopped (that is, any irregularities filled up with plaster of Paris mixed with whiting and water to a paste) and then rubbed perfectly smooth with glass paper. Clairecole, a solution of thin size and whiting, is then applied to render the plaster non-absorbent, and this is followed by distemper of the desired colour. Distemper is made by soaking whiting in clean water to a creamy consistency. To this is added size which has been previously warmed, and the pigment required to colour the mixture; the whole is then well stirred and strained to remove any lumps. Many patent washable distempers under fancy names are now on the market in the form of paste or powder, which simply require to be mixed with water to be ready for use. If applied to woodwork distemper is apt to flake off. The "one-knot " brush for cornices and other mouldings and the "two-knot" and "brass-bound" brushes for flat surfaces are usually employed for distempering and whitewashing. A granular surface is produced by stippling or dabbing the surface with a stiff bristled brush specially made for this purpose. Gilding, &c.-Very rich effects may be produced both in external and internal decorations by the judicious use of overlays of gold or silver. In their application, however, it must always be borne in mind that they are metals, not paints, and they The following is an extract from the building by-laws of the should only be used in positions such as would be appropriate municipality of Johannesburg: "All structural metal work shall be thoroughly cleaned from scale and rust before painting. Faying surfaces in riveted work shall be painted before putting them together. All surfaces of steel or iron work inaccessible after erection shall be protected as far as possible either by coating them with 'Smith's ' or other approved bituminous composition, or by filling the spaces which they enclose with lime concrete." Repainting Old Work.-Before beginning to repaint work of any description it must be thoroughly cleaned. If the surface is in good condition it will be sufficient to scrub down with good soap and water and afterwards sponge and wipe dry. for the actual metals. "Dutch metal" and other imitations AUTHORITIES.-A. C. Wright, M.A., B.Sc., Simple Methods for If the work has become rough it will often be necessary to use pumice stone to facilitate the operation of cleaning. The pumice should be cut or rubbed to a flat surface and vigorously applied with plenty of clean water. It is essential that the work should be quite dry before any paint is applied. If the old surface is much cracked and blistered no amount of rubbing with pumice will enable the workman to obtain a good ground for the new coats, and it will be necessary to remove the old paint entirely. For this purpose painters most frequently use a paint burner or torch which burns paraffin oil under air pressure. This causes the paint to soften and blister under the heat, in which state it is readily scraped off by a blunt knife. The old-fashioned grate filled with charcoal held close to the surface by means of a long handle is now not often used. There has recently been a considerable increase in the use of chemical paint removers in paste or liquid form; as a rule these contain some alkali, such as lime or caustic soda. The prepara-painting is a part of the builder's and decorator's trade it is tion is brushed on to the paint required to be removed, and in the course of from ten minutes to half an hour the paint becomes so soft that it can readily be scraped off. PAINTING, in art, the action of laying colour on a surface, or the representing of objects by the laying of colour on a surface It is with painting in the last sense, considered as one of the fine arts, that this article deals. In the first sense, in so far as ་་ treated above under the heading PAINTER-WORK. The verb to paint" is derived through Fr. peindre (peint, the past participle, was possibly the earliest part adopted, as is suggested in the New English Dictionary), from Lat. pingere, to paint. From the past participle pictus comes pictura, picture, and from the root pig, pigment. The ultimate meaning of the root is probably to decorate, adorn, and is seen in Gr. Tokiλos, manycoloured, variegated. In Part I. of this article, after a brief notice of the general character of the art and an account of its earliest manifestations, a sketch is given of the course of its development from the ancient Egyptian period to modern times. (An account, by countries, of recent schools of painting will be found as an appendix at the end of Part III.) The point of view chosen is that of the relation of painting to nature, and it is shown how the art, beginning with the delineation of contour, passes on through stages when the effort is to render the truth of solid form, to the final period when, in the 17th century, the presentment of space, or nature in all her extent and variety, becomes the subject of representation. Certain special forms of painting characteristic of modern times, such as portraiture, genre painting, landscape, still-life, &c., are briefly discussed. Part II. consists in tables of names and dates intended to afford a conspectus of the different historical schools of painting from the 12th century A.D. downwards. Part III. is devoted to a comprehensive treatment of the different technical processes of painting in vogue in ancient and modern times. AUTHORITIES.-There is one elaborate general treatise on the whole art of painting in all its branches and connexions. It is by Paillot de Montabert, and was published in Paris (1829-1850). It is entitled Traité complet de la peinture, and is in nine substantial volumes, with an additional volume of plates. It begins with establishing the value of rules for the art, and giving a dictionary of terms, lists of artists and works of art, &c. Vols. ii. and iii. give the history of the art in ancient, medieval and modern times. Vols. iv., v., ví. and vii. contain discussions on choice of subjects, design, composition, &c.; on proportions, anatomy, expression, drapery; on geometry, perspective, light and shade, and colour. In vol. viii., pp. 1-285 deal with colour, aerial perspective and execution; pp. 285-503 take up the different kinds of painting, history. portrait, landscape, genre, &c.; and pp. 503-661 are devoted to materials and processes, which subject is continued through vol. ix. To encaustic painting 125 pages are given, and 100 to painting in oil. A long discussion on painting grounds and pigments follows, while other processes of painting, in tempera, water-colour, enamel, mosaic, &c., are more briefly treated in about 200 pages, while the work ends with a notice of various artistic impedimenta. Vol. i., it should be said, contains on 70 pages a complete synopsis of the contents of the successive volumes. The best general History of Painting is that by Woltmann and Woermann (Eng. trans., London, 1880, &c.), but it does not go beyond the 16th century AD. See also the separate articles on CHINA (Art), JAPAN (Art), EGYPT (Art), GREEK ART, ROMAN ART, &c. For the Italian schools of painting may be consulted: Crowe and Cavalcaselle, History of Painting in Italy (2nd ed., London, 1902, &c.). The original edition was published in London under the titles History of Painting in Italy (3 vols., 1864-1866), and History of Painting in North Italy (2 vols., 1871), Venturi, Storia dell' arte italiana (Milan, 1901, &c.). For the German: Tanitschek, Geschichte der deutschen Malerei (Berlin, 1890). For the Early Flemish: Crowe and Cavalcaselle, The Early Flemish Painters (2nd ed., London, 1872); Wurzbach, Niederländisches Künstler-Lexicon (Vienna and Leipzig, 1906, &c.); Weale, Hubert and John van Eyck (London, 1907). For the Dutch: Wurzbach: Bode, Studien zur Geschichte der Holländischen Malerei (Braunschweig, 1883) and Rembrandt und seine Zeitgenossen (Leipzig, 1906); Havard, The Dutch School of Painting (trans., London, 1885). For the French: Lady Dilke, French Painters of the Eighteenth Century (London, 1899); D. C. Thomson, The Barbizon School. For the English: Redgrave, A Century of Painters of the English School (London, 1890). For the Scottish: W. D. McKay, R.S.A., The Scottish School of Painting (London, 1906). For the American: J. C. Van Dyke (ed.), History of American Art (New York, 1903. &c.); S. Isham, A History of American Painting (N. Y., 1905). The modern schools generally are treated fully, with copious bibliographical references, by Richard Muther. The History of Modern Painting (2nd ed., Eng. trans., London, 1907). PART I-A SKETCH OF THE DEVELOPMENT OF THE ART §1. Constituents and General Character.-If we trace back to the parent stock the various branches that support the luxuriant modern growth of the graphic art, we see that this parent stock is in its origin twofold. Painting begins on the one side in outline delineation and on the other in the spreading of a coloured coating over a surface. In both cases the motive is at first utilitarian, or, at any rate, non-artistic. In the first the primary motive is to convey information. It has been noticed of certain savages that if one of them wants to convey to a companion the impression of a particular animal or object, he will draw with his finger in the air the outline of some characteristic feature by which it may be known, and if this do not avail he will sketch the same with a pointed stick upon the ground. It is but a step from this to delineation on some portable tablet that retains what is scratched or drawn upon it, and in this act a monument of the graphic art has come into being. In the other case there are various motives of a non-aesthetic kind that lead to the covering of a surface with a coat of another substance. The human body, the first object of interest to man, is tender and is sensitive to cold. Wood, one of the earliest building materials and the one material for any sort of boatbuilding, is subject, especially when exposed to moisture, to decay. Again, the early vessel of clay, of neolithic date, because imperfectly burned, is porous. Now the properties of certain substances suitable for adhesive coatings on anything that needed protection or reinforcement would soon be noticed. Unctuous and oily substances like animal fat, mixed with ashes or some such material, are smeared by some savages on their bodies to keep them warm in cold regions and to defend them against insect bites in the tropics. Wax and resin and pitch, liquefied by the heat of the sun or by fire, would lend themselves readily for the coating of wood with a substance impervious to moisture. Vitreous glazes, first no doubt the result of accident, fused over the surface of the primitive clay vessel would give it the required impermeability. This is no more art than the mere delineation which is the other source of painting, but it begins to take on itself an aesthetic character when colour plays a part in it. There are physiological reasons why the colour red exercises an exciting influence, and strong colours generally, like glittering surfaces, make an aesthetic appeal. In prehistoric times the flesh was sometimes stripped from the skeleton of a corpse and the bones rubbed with red earth or ruddle, while the same easily procured colouring substance is used to decorate the person or the implement of the savage. In this sensibility to colour we find a second and distinct origin of the art of painting. What a perspective does a glance back at the development of painting afford! Painting, an art that on a flat surface can suggest to illusion the presence of solid forms with length, breadth and thickness; that on the area of a few square inches can convey the impression of the vast spaces of the universe, and carry the eye from receding plane to plane till the persons or objects that people them grow too minute for the eye to discern; painting that can deck the world in Elysian brightness or veil it in the gloom of the Crucifixion, that intoxicates the senses with its revelation of beauty, or magician-like withdraws the veil from the mysterious complexity, of nature; the art that can exhibit all this, and yet can suggest a hundred fold more than it can show, do often lie too deep for tears"-this Painting, the most fasciand by a line, a shade, a touch, can stir within us" thoughts that nating, because most illusive in its nature, of all the arts of form, is in its first origin at one time a mere display to attract attention, as if one should cry out "See here!" and at another time a prosaic answer to a prosaic question about some natural object, "What is it like?" The coat or streak or dab of colour, the informing outline, are not in themselves aesthetic products. The former becomes artistic when the element of arrangement or pattern is introduced. There is arrangement when the shape and size of the mark or marks have a studied relation to those of the surface on which they are displayed; there is pattern when they are combined among themselves so that while distinct and contrasted they yet present the appearance of a unity. Again, the delineation, serving at first a purpose of use, is not in itself artistic, and it is a difficult question in aesthetic whether any | representation of nature that aims only at resemblance really |