ozs. of the same base, add 6 drs. of the glass of antimony. 11. For the topaz of Brazil:-To 24 ozs. of the second or third base, add 1 oz. 24 grs. of the glass of antimony, and 8 grs. of precipitate of cassius. 12. For the hyacinth :To 24 ozs. of the base made with rock-crystal add 2 drs. 48 grs. of glass of antimony. 13. For the oriental ruby:-1. To 16 ozs. of the Mayence base, add a mixture of 2 drs. 48 grs. of the precipitate of cassius, the same quantity of crocus Martis prepared in aquafortis, the same of golden sulphur of antimony and of fusible manganese, with 2 ozs. of mineral crystal; or, 2. To 20 ozs. of the base made with flint, add half an ounce of fusible manganese, and 2 ozs. of mineral crystal. 14. For the balass ruby:-1. To 16 ozs. of the Mayence base, add the above coloring powder, but diminished one-fourth part; or, 2. To 20 ozs. of the base made with flints, add the same coloring powder, but with one-fourth less of the manganese. The factitious gems are easily distinguished from the natural, by their softness and fusibility; by their solubility in acids; by their causing only a single refraction of the rays of light; and, in many cases, by their specific gravity, which exceeds 2.76 in all precious gems of the first order, as the diamond, ruby, sapphire, &c.

A prize having been offered by the Society for the Encouragement of the Arts in France for the best memoir on the fabrication of imitation stones, it was decreed to M. D. Wieland.

The base of all these imitations is Strass, or white crystal. The materials employed are melted in Hessian crucibles, and a porcelain furnace; or, what is preferable, a potter's furnace is afterwards used. The more tranquil and prolonged that the fusion is, the more hardness and beauty does the strass acquire.

Strass.-The following three mixtures give a very fine strass :

.

0.318 0.3170 0.300 0.490 0.4855

.

0.021

0.565 0.105 0.0200 0.030

0.0005

Potassa, pure 0.170 0.1770

Borax

Arsenic, oxide of 0.001

Peridot.-By augmenting the proportion of oxide of chrome and oxide of copper in the first composition of emerald, and adding oxide of iron, we may vary the green shades, and imitate the peridot and deep-colored emerald.

There has been at different times a method

practised by particular persons of taking the impressions and figures of antique gems, with their engravings, in glass of the color of the original gem. This has always been esteemed a very valuable art, and greatly preferable to the ordinary method of doing it on sealing-wax or brimstone; but being a secret in the hands of particular persons, who obtained their bread by it, it died with them, and every new artist was obliged to re-invent the method; till at length M. Homberg, having carried it to great perfection, gave the whole process to the world. M. Homberg was favored in his attempts with all the engraved gems of the king's cabinet; and took such

elegant impressions, and made such exact resemblances of the originals, and that in glasses so artfully tinged to the color of the gems themselves, that the nicest judges were deceived in them, and often took them for the true antique stones. The chief care in the operation is to take that impression of the gem in a very fine earth, and to press down upon this a piece of proper glass, softened or half melted at the fire, so that the figures of the impression made in the earth may be nicely and perfectly e-pressed upon the glass. All earths run more or less easily in the fire as they are more or less mixed with saline particles. As all salts make earths run into glass, and as it is necessary to use an earth on this occasion for the making a mould, it being also necessary, to the perfection of the experiment, that this earth should not inelt or run, some earth must be got which naturally contains very little salt. Of all the earths which M. Homberg examined, none proved so fit for the purpose as the common Tripoli, used to polish glass and stones. Of this earth there are two common kinds: the one reddish, and composed of several flakes or strata; the other yellowish, and of a simple structure. The yellowish kind, commonly called Venetian tripoli, is the best. It receives the impressions very beautifully; and never mixes with the glass in the operation, which the red kind sometimes does. When the tripolis are separately powdered, the red kind must be mixed with so much water as will bring it to the consistence of paste, so that it may be moulded like a lump of dough between the fingers; this paste must be put into a small crucible of a flat shape, and about half an inch or a little more in depth, and of such a breadth at the surface as is a little more than that of the stone whose impression is to be taken. The crucible is to be nicely filled with this paste lightly pressed down into it, and the surface of the paste must be strewed thickly over with the fine powder of the yellow tripoli not wetted. When this is done, the stone, of which the impression is to be taken, must be laid upon the surface, and pressed evenly down into the paste with a finger and thumb, so as to make it give a strong and perfect impression; the tripoli is then to be pressed nicely even to its sides with the fingers, or with an ivory knife. The stone must be thus left a few moments, for the humidity of the paste to moisten the dry powder of the yellow tripoli which is strewed over it: then the stone is to be carefully raised by the point of a needle fixed in a handle of wood; and, the crucible being then turned bottom upwards, it will fal! out, and the impression will remain very beautifully on the tripoli. If the sides of the cavity have been injured in the falling out of the stone, they may be repaired; and the crucible must then be set, for the paste to dry, in a place where it will not be incommoded by the dust. The red tripoli, being the more common and the cheaper kind, is here made to fill the crucible only to save the other, which alone is the substance fit for taking the impression. When the stone is taken out, it must be examined, to see whether any thing be lodged in any part of the engraving, because if there be any of the tripoli left there, there will certainly be so much want

ing in the impression. When the crucible and paste are dry, a piece of glass must be chosen of a proper color, and cut to a size proper for the figure; this must be laid over the mould, but in such a manner that it does not touch the figures, otherwise it would spoil them. The crucible is then to be brought near the furnace by degrees, and gradually heated till it cannot be touched without burning the fingers; then it is to be placed in the furnace under a muffie, surrounded with charcoal. Several of these small crucibles may be placed under one muffle; and, when they are properly disposed, the aperture of the muffle should have a large piece of burning charcoal put to it, and then the operator is to watch the process, and see when the glass begins to look bright: this is the signal of its being fit to receive the impression. The crucible is then to be taken out of the fire; and the hot glass must be pressed down upon the mould with an iron instrument, to make it receive the regular impression: as soon as this is done, the crucible is to be set at the side of the furnace out of the way of the wind, that it may cool gradually without breaking. When it is cold, the glass is to be taken out, and its edges should be grated round with pincers, which will prevent its flying afterwards, which is an accident that sometimes happens when this caution has been omitted, especially when the glass is naturally brittle. The different colored glasses are of different degrees of hardness, according to their composition; but the hardest to melt are always the best for this purpose, and this is known by a few trials. If it be desired to copy a stone in relief which is naturally in creux, or to take one in creux which is naturally in relief, there needs no more than to take an impression first in wax or sulphur, and to mould that upon the paste of tripoli instead of the stone itself: then, proceeding in the manner before directed, the process will have the desired success. The application of paste to multiply and preserve the impressions of cameos and intaglios is an object very interesting to artists and to antiquaries, as well as to men of learning and taste in the fine arts. This art, though not long restored to any degree of perfection, is of very considerable antiquity. The great prices which the ancients paid for the elegant gems engraved by the celebrated Greek artists, could not but suggest to them the idea of multiplying their numbers, by taking off their impressions in wax, in sulphur, in plaster, or in clay; but more particularly in colored glass, or that vitrified substance commonly called paste. As the impressions on paste are durable, and imitate the colors and brilliancy of the original stones, they mostly serve the same purposes as the gems themselves. This art was therefore practised, not only by the Greeks, but by all the nations who cultivated Grecian taste. Many of the finest gems of antiquity are now lost, and their impressions are to be found only on ancient pastes. Numerous collections of them have been formed by the curious. Instances of this are found in the Florentine Museum, in Stosch's work on ancient gems with inscriptions, and in Winckelman's description of Stosch's cabinet. The art of taking impressions of gems seems not

to have been altogether lost even in the Gothic ages; for Heraclius, who probably lived in the ninth century, and wrote a book De coloribus et artibus Romanorum, teaches in very plain terms how to make them. Indeed, some of the few who then possessed this art, taking advantage of the ignorance of the times, sold pastes for the original gems. Thus the famous emerald of the abbey of Reichnaw near Constance, although a present made by Charlemagne, is now found to be a piece of glass. And thus the celebrated emerald vase in the cathedral of Genoa is likewise found to be a paste. The Genoese received this vase at the taking of Cesarea, in 1101, as an equivalent for a large sum of money; nor was any imposition then suspected, for in 1319 they pawned it for 1200 marcs of gold. But this ingenious art, revived indeed in Italy, in the time of Laurence De Medicis, and Pope Leo X., was not cultivated in an extensive manner till the beginning of the eighteenth century, when M. Homberk restored it. In this he is said to have been greatly assisted and encouraged by the then duke of Orleans regent of France, who amused himself with that celebrated chemist, in taking off impressions in paste for the king of France's, his own, and other collections of gems. According to the French Encyclopedists, M. Clachant the elder, an engraver of some note, who died in Paris in 1781, learned this art from his royal highness, to whose household, his father or he, seems to have belonged. Mad. Feloix next cultivated this art. She had been taught by her father, who, in quality of garçon de chambre to the regent, had often assisted in the laboratory of his master, where he acquired this knowledge. Baron Stosch, a Prussian, who travelled over Europe in quest of original engraved stones and impressions of ancient gems, for the elegant work which he published and Picart engraved, entitled Gemmæ antiquæ coloratæ, was well acquainted with this

art.

He had taught it to his servant Christian Dehn, who settled in Rome, where he made and sold his well known sulphur impressions and pastes. The difficulties in taking off the cameos arising from their size and form, and from the various nature of the different sorts of glass, which do not well unite into different strata, are very numerous nor could the completest success in the chemical and mechanical branch of the art produce a tolerable cameo. Impressions or imitations, if unassisted by the tool of the engraver, do not succeed: because the undercutting and deep work of most of the originals require to be filled up with clay or wax, that the moulds may come off safe without injuring them. Hence the impressions from these moulds come off hard, and destitute of delicacy, sharpness, and precision of outline, till the underworking of the moulder is cut away. But Mr. Reiffenstein of Rome, by perseverance, and the assistance of able artists, overcame most of these difficulties; and had the satisfaction of producing variegated cameos which can hardly be distinguished from the originals. But, of all the artists who have taken impressions of engraved gems in sulphur and in paste, no one seems to have carried that art to greater perfection than Mr. James Tasse, a

native of Glasgow, who resided in London. The great demand for his pastes was perhaps owing in the beginning to the London jewellers, who introduced them into fashion, by setting them in rings, seals, bracelets, necklaces, and other trinkets. The reputation of these impressions having reached the empress Catharine II. of Russia, she ordered a complete set; which, being accordingly executed in the best and most durable manner, were arranged in elegant cabinets, and placed in the apartments of her superb palace at Czarsko Zelo. The impressions were taken in a beautiful white enamel composition, which is not subject to shrink or form air-bladders; which emits fire when struck with steel, and takes a fine polish; and which shows every stroke and touch of the artist in higher perfection than any other substance. It was the learned Mr. Raspe who arranged this great collection, and made out the descriptive catalogue, from which this account is taken.

PASTES for fishing are variously compounded, almost according to the angler's own fancy; but there should always be a little cotton wool, shaved lint, or fine flax, to keep the parts of it together, that it may not fall off the hook. White bread and honey will make a proper paste for carp or tench. Fine white bread alone, with a little water, will serve for roach and dace; and mutton suet and soft new cheese for barbels. Strong cheese with a little butter, and colored yellow with saffron, will make a good winter paste for a chub.

But, among all the variety of pastes, there is none so often used as the simple and plain one made with white bread and milk, which requires only clean hands.

In September, and all the winter months, when you angle for chub, carp, and bream, with paste, let the bait be as big as a large hazle nut: but for roach and dace, the bigness of an ordinary bean is sufficient.

PASTERN, n. s. Fr. pasturon; Ital. passatoia, from Lat. passus. That part of the leg of a horse between the fetlock and the hoof.

I will not change my horse with any that treads on four pasterns. Shakspeare. Henry V. The colt that for a stallion is designed, Upright he walks on pasterns firm and straight, His motions easy, prancing in his gait. Dryden. Being heavy, he should not tread stiff, but have a pastern made him to break the force of his weight: his body thus hangs on the hoof, as a coach doth by the leathers. Grew.

PASTIL, n. s. Fr. pastille; Ital. pastiglia; Lat. pastillus. A roll of paste.

To draw with dry colors, make long pastils, by grinding red lead with strong wort, and so roll them up like pencils drying them in the sun.

Peacham on Drawing.

PASTIL, in pharmacy, is a dry composition of sweet-smelling resins, aromatic woods, &c. sometimes burnt to clear and scent the air of a chamber

PASTIME, n. s. Pass and time. Sport; amusement; something to pass time away; diversion.

It was more requisite for Zelmane's hurt to rest, than sit up at those pastimes; but she that felt no

with a

the water.

ce

rin of who were dis

11ivity, which ume, were found only in tempered wit, age or infimm. Fitz-Sterleb says, "In Easter holydays they näht battles upon A shield is hatred upon a pole, nvd in the middle of the stream. A beat is prepared without cars, to be borne along by the Violence of the water; and in the fore: art thereof standeth a young man, ready to give charge upon the shield with his lance. If so be that he break his lance against the shield, and doth not fall, he is thought to have performed a worthy deed. If without breaking his lance be runs strongly against the shiela, down he falleth into the water; for the boat is violently force with the tide: but on each side of the shield ride two boats, furnished with young men, who recover him who falleth soon as they may. In the holy days all the summer the youths are exercised in leaping, dancing, shooting, wrestling, casting the stone, and practising their shields; and the maidens trip with their timbrels, and dance as long as they can well see. In winter, every holyday before dinner, the boars prepared for brawn are set to fight, or else bulls or bears are baited.' Such were the pursuits to which leisure as devoted by our forefathers so far back as

: de

de, his want

te successors breathed the the sixth year of Henry in exercises of this kind fession of their instructions

Ley imparted to those who ng excellence and victory Alements. About this rank and family introduced

and erected courts or obe part mance of it. In the III. the quintain was a spert

ist every part of the kingconsisted of an upright eund, upon the top of Lece of wood, moveable upon end of which was broad like we at the other end Sand. The exercise was perThe masterly performance o the broad part being struck sometimes broke it, the ason, so as to avoid being why the bag of sand, which stantly upon the stroke given, tion. He who executed must dexterens manner was deBut fun the aim taken, the ed in striking at the roadSkill 'ecame the ridicule and of the rectators. Dr. Plott, in his Natural Hisory & Oxfordshire, tells us, that this pastime was in practice in his time at Deddin a He and Matthew Paris give similar But all the manly pastimes seem to lave given place to one indeed no less manly, which was Aruery. This continued till the of Charles I. It appears from 33 Hen. VIII. that. the intrusion of other pernicious games, archery had been for a long time disuse 1; to revive which a statute was made, towards the beginning of James I's reign. He, to manify the of the common people, published a look of sports, in which the people hiileen some time lefire in lulzed on Sunday evenings, but which had been lately prohibited. These sports consisted of dancing, singing, wrestling, church ales, and other profanations of that day. Charles, has successer, in the very entrance of has reign, abolished these sports.

PASTINACA, the parsnep, a genus of the dynia order and pentandria class of plants; narurd order forty-fifth, unbellata: fruit an ellytical compressed plane; petals involuted and entire species three.

1. P. jatav: the root is perennial, thick, fleshy, tipening like the garden parsnep; the stilk is strong, branded, rough towards the bottom, and rises seven or eight fect in height; the leaves are pinnated, consisting of several pairs of piæ, which are oblong, serrated, veined, and towards the base appear unformed on the upper sid: the flowers are small, of a yellowish color, and terminate the stem and branches in flat umtels; the general and partial umbels are composed of many radii: the general and partial involucra are commonly both wanting; all the florets are fertile, and have a uniform appearance; the petals are five, lance-shaped," and curled inwards; the five filaments are spreading,

curved, longer than the petals, and furnished with roundish antheræ; the germen is placed below the corolla, supporting two reflexed styles, which are supplied with blunt stigmata; the fruit is elliptical, compressed, divided into two parts, containing two flat seeds, encompassed with a narrow border. It is a native of the south of Europe, and flowers in June and July. It bears the cold of our climate very well, and commonly matures its seeds; and its juice here manifests some of those qualities which are discovered in the officinal opoponax; but it is only in the warm regions of the east, and where this plant is a native, that its juice concretes into this gummy resinous drug. Opoponax is obtained by means of incisions made at the bottom of the stalk of the plant, whence the juice gradually exudes; and by undergoing spontaneous concretion, assumes the appearance under which we have it imported from Turkey and the East Indies. It readily mingles with water, by triture, into a milky liquor, which, on standing, deposits a portion of resinous matter, and becomes yellowish to rectified spirit it yields a gold-colored tincture, which tastes and smells strongly of opoponax. Water distilled from it is impregnated with its smell, but no essential oil is obtained on committing moderate quantities to the operation. See OpPOPONAX.

2. P. sativa, garden parsnep, is an exceedingly fine esculent root. It is propagated by seeds sown in February or March, in a rich mellow soil, which must be deep dug, that the roots may be able to run deep without hindrance. It is common to sow carrots at the same time, upon the same ground with the parsneps; and, if the carrots are designed to be drawn young, there is no harm in it. The parsneps, when they are grown up a little, must be thinned to a foot distant, and kept clear of weeds. They are finest tasted just at the season when the leaves are decayed: and such as are desirous to eat them in spring should have them taken up in autumn, and preserved in sand. When the seeds are to be saved, some very strong and fine plants should be left four feet distant; and towards the end of August, or beginning of September, the seeds will be ripe: they must then be gathered, and dried on a coarse cloth. They should always be sown the spring following; for they do not keep well. Hints have been given, and experiments made, by agricultural societies, respecting parsneps, to raise them for winter food to cattle. It has long been a custom in some parts of Brittany to sow parsneps in the open field for the food of cattle. Hogs have no other food in all that season, and bullocks and oxen thrive well upon it. Cows fed with parsneps give more milk than with any other winter fodder, and that milk yields better butter than the milk of cows nourished with any other substance. Cattle eat these roots raw, at first sliced lengthwise; and when they begin to tire of them they are cut in pieces, put into a large copper, pressed down there, and boiled with only so much water as fills up the chasms between them. They then eat them very greedily, and continue to like them. a couch, and

PASTOPHIORI. Gr. πατος,

pepo, to bring or bear. In archaiology, priests of an inferior order among the ancients, who, in solemn processions, carried the statues of the gods. Pocock speaks of two antique monuments extracted from the ruins of Thebes, on one of which are represented twelve pastophori, carrying on their shoulders a vessel, in the middle of which is a little chapel, closed: on the other eight priests of a similar order, bearing in like manner, a ship wherein a god, in human guise, appears seated upon a kind of shrine. It is to be regretted that this traveller cites from memory only, having neglected to procure a drawing of the figures.

Sometimes, also, these pastophori bore in their hands the images of the gods. Caylus has given a drawing of a priest bearing the idol of a divinity enclosed in a sort of little tabernacle.

Clemens Alexandrinus, describing the temples of the Egyptians, says, that, after having passed through magnificent courts, you are conducted to a temple, which is at the farther end of these courts, and then a pastophorus gravely lifts up the veil, which is the door, to show you the deity within; which is nothing but a dog or a cat, or some other animal. Apuleius speaks of the pastophori that carried the Syrian goddess. The Greeks had a college of priests of this description in the time of Sylla. Some antiquaries have affirmed that the name of pastophori was applied to this class by the Greeks from the circumstance of their wearing long mantles, or from the couch or bed (asos) of Venus, which was carried by them in certain ceremonies, or, again, from the veil which covered the divinities, and which was lifted up by the pastophori, to exhibit them to the view of the people.

PASTOPHORIA, the cells or apartments near the temples, where the pastophori lived. There were several lodging rooms for the priests of a similar kind in the temple of Jerusalem. PASTOR, n. s.

7 Fr. pasteur, pas

PASTORAL, adj. & n. s. § toral; Latin pastor, pastoralis. A shepherd; hence the settled minister of a spiritual flock: pastoral is, shepherdlike; rural; relating to the care of souls: as a noun substantive, a poem representing a country or rural life; a bucolic.

Woe be unto the pastors that destroy and scatter the sheep of my pasture, saith the Lord. Jer. xxiii. 1. In those pastoral pastimes, a great many days were sent to follow their flying predecessors.

Sidney

All shops are pastors of the common flock.

Lesley.