mensions are mere emptiness and nothing; and the remaining one only, material and real substance. Bentley.

Mr. Boyle has showed, that air may be rarefied above 10,000 times in vessels of glass; and the heavens are much emptier of air than any vacuum we Newton. can make below.

I have always observed that your empty vessels sound loudest. Swift. Form the judgment about the worth or emptiness of things here, according as they are or are not of use, in relation to what is to come after. Pleased in the silent shade with empty praise.

Eternal smiles his emptiness betray,

Atterbury.

Pope.

As shallow streams run dimpling all the way. Id. The Euxine Sea is conveniently situated for trade, by the communication it has both with Asia and Europe, and the great navigable rivers that empty themselves into it. Arbuthnot.

Sheep are often blind by fulness of blood: cut their tails, and empty them of their blood. Mortimer.

Since pulpits fail, and sounding-boards reflect Most part an empty ineffectual sound, What chance that I, to fame so little known, Nor conversant with men or manners much, Should speak to purpose, or with better hope, Crack the satiric thong?

Cowper.

Hope sets the stamp of vanity on all That men have deemed substantial since the fall, Yet has the wondrous virtue to educe

εμπ

EMPYE'MA, n. s. Fr. empyemé; Gr. Tunua, from ev, within, and Tuwv, pus. A collection of purulent matter in any part of the body, but more particularly in the cavity of the chest. See MEDICINE, Index.

An empyema, or a collection of purulent matter in the breast, if not suddenly cured, doth undoubtedly impel the patient into a phthisical consumption.

Harris. There is likewise a consumption from an empyema, after an inflammation of the lungs. Arbuthnot. EMPY'REAN, n. s. & adj. EMPY'REAL, adj. EMPY'REUM, N. s.

Fr. empyréé; Ital., Span. and Port. cielo em

Tupaw, to burn. The burning or boiling of oils, or other matters that give an offensive smell. Empyreumatic is having this burnt, oily smell or

taste.

torts, may be brought to emulate essential oils drawn

Empyreumatical oils, distilled by strong fires in re

in limbicks.

Boyle.

It is so far from admitting an empyreum, that it burns clear away without leaving any cinders, or a dust about it. Harvey.

The hopes of an elixir insensibly evaporate, and vanish into air, or leave in the recipient a foul empyreum. Decay of Piety. EMPY'ROSIS, n. s. Gr. εμπυρόω. Conflagration; general fire.

The former opinion that held these cataclysms and total consummation unto things in this lower world, empyroses universal, was such as held that it put a especially that of conflagration.

Hale.

EMRUN, or EMBRUN, an ancient town of France, the chief place of a district, in the department of the Alps: it is situated on the Durance, in the midst of fertile vallies, and is chiefly remarkable for its cathedral. Inhabitants about 3000.

which rises in the principality of Paderborn, EMS, a considerable river of Westphalia, and flows through Munster and East Friesland. It finally discharges itself by two arms into the bay of Dollart in the North Sea, a little below Embden. It has a mouth of noble breadth, and the tide, rising for a number of miles, renders it an important medium of transport.

EM'ULE, v. a. EM'ULATE, v. a. & adj. EMULATION, n. s. EMULATIVE, adj. EM'ULATOR, n. s. EM'ULOUS, adj. EMULOUSLY, adv.

French, emulér ; Span. emular; It. emulare; Latin, amulor, from Gr. αμιλλα, a contest. To rival; strive with for excellence; hence to imitate or equal generally. Shakspeare uses the adjective emulate for ambitious. Emulative is disposed, or tending to, rivalry. Emulous, rivalling; desirous to outvie: hence contentious, factious.

There was neither envy nor emulation amongst them. 1 Mac.

He sitting me beside, in that same shade,
Provoked me to play some pleasant fit;
Yet emuling my pipe, he took in hand
My pipe, before that emuled of many,
And plaid thereon; for well that skill he could.

Spenser, I see how thy eye would emulate the diamond. Shakspeare.

Our last king,

Id. ques

Him emulate you: 'tis no shame to follow The better precedent. Ben Jonson's Catiline. What the Gaul or Moor could not effect, Nor emulous Carthage, with their length of spite, Shall be the work of one. Nothing will more try a man's grace, than tions of emulation. Bp. Hall. Contemplations. Whether some secret and emulatory brawls passed between Zipporah and Miriam, or whether now that Jethro and his family were joined with Israel, &c. the exceptions were frivolous. Id.

She is in perpetual diffidence, or actual enmity with her, but always emulous and suspectful of her. Howel's Vocal Forest.

As long as the world lasts, and honour and virtue and industry have reputation in the world, there will be ambition and emulation and appetite in the best and most accomplished men who live in it.

Each of the rivals courted him with emulation; he knew it to be his interest to keep the balance even, and to restrain both, by not joining entirely with either of them. Robertson. History of Scotland.

Rhyme, except some religious pieces that are in print, I had given up; but meeting with Ferguson's Scottish Poems, I strung anew my wildly-sounding lyre with emulating vigour. Burns.

Peace (if insensibility may claim

A right to the meek honours of her name)
To men of pedigree; their noble race,

Emulous always of the nearest place

To any throne, except the throne of grace.

Cowper. True emulation, especially in young and ingenuous minds, is a noble principle; I have known the happiest effects produced by it; I never knew it to be productive of any vie. In all public schools, it is, or ought to be carefully cherished. Beattic.

SNEER. Why, 'tis certain, that unnecessarily to mortify the vanity of any writer is a cruelty which mere dulness never can deserve; but where a base and personal malignity userps the place of literary emulation, the aggressor deserves neither quarter nor pity. Sheridan.

The aliment is dissolved by an operation resembling that of making an emulsion; in which operation the oily parts of nuts and seeds, being gently ground in a marble mortar, are gradually mixed with some watery liquor, or dissolved into a sweet, thick, turbid, milky liquor, resembling the chyle in an animal body. Arbuthnot.

EMUNCTORIES, n. s. Fr. emunctoire ; Ital. emuntorio; Lat. emunctoria; from e and mungo; Gr. μvzw, μvyw. To wipe the nose. Those parts of the body where any thing excrementitious is separated and collected for eject

ment.

There are receptacles in the body of man, and emuncturies to drain them of superfluous choler.

Morc

EMUNCTORIES, in anatomy, are chiefly the kidneys, bladder, and most of the glands.

EN, an inseparable particle, says Dr. Johnson, borrowed by us from the French, and by the French from the Latin in. Many words are uncertainly written with en or in. In many words en is changed into em for more easy pronunciation. Ben Jonson had previously noticed that the letters i and e have such nearness in our tongue as oftentimes to interchange places.' En abounds in our older writers. Mr. Todd has very well suggested, that the uncertainty with respect to en or in might be removed by due attention to the etymology of words. Thus, as entire is admitted to be derived from the French entier, the form of intire should not be observed; thus enquire, as being from the French enquirer, seems preferable to inquire, from the Latin inquiro; and enclose, from the French enclos, to the Latin inclusus; while, on the other hand, include is directly from the Latin includo.' ENA'BLE, v. a. From en and ABLE, which To empower; make able, or competent. If thou wouldst vouchsafe to overspread Me with the shadow of thy gentle wing, I should enabled be thy acts to sing. This purifying of wit, this enriching of memory enabling of judgment, and enlarging of conceit, which commonly we call learning; under what name soever it be directed, the final end is, to lead and draw us to as high perfection as our degenerate souls (made worse by their clay lodgings), can be capable of.

see.

Spenser.

Sir P. Sidney.

The authority of an umpire, which had been unwarily bestowed upon him, and from which the Scots dreaded no dangerous consequences, enabled him to execute his schemes with greater facility.

Robertson. History of Scotland. ENACT, v. a. Į From en and ACT, which ENACTOR, n. s. see. To act; perform; accomplish; establish by legal acts; represent by action. Shakspeare uses enactors (fol. edit.) in the last sense.

There are dreadful punishments enacted against thieves. Sir T. More.

In true balancing of justice, it is flat wrong to pu nish the thought or purpose of any before it be enacted. Spenser.

Valiant Talbot, above human thought, Enacted wonders with his sword and lance. Shakspeare.

The violence of either grief or joy, Their own enactors with themselves destroy. Id. The senate were authors of all counsels in the state; and what was by them consulted and agreed, was proposed to the people, by whom it was enacted or commanded. Temple.

He acts also contrary to his trust, when he either employs the force, treasure, and offices of the society, to corrupt the representatives, and gain them to his purposes: or employs them to bring in such, who have promised beforehand what to vote, and what to Locke.

enact.

The great author of our nature, and enactor of this law of good and evil, is highly dishonoured.

Atterbury.

Hath God indeed given appetites to mau,
And stored the earth so plenteously with means,
And doth he reprobate, and will he damn,
To gratify the hunger of his wish;
The use of his own bounty? making first
So frail a kind, and then enacting laws
So strict, that less than perfect must despair?'

Cowper. ENA'LLAGE, n. s. Gr. ἐναλλαγη. A figure in grammar, whereby some change is made of the common modes of speech, as when one mood or tense of a verb is put for another.

The grammarians too have a kind of enallage, whereby one part of speech, or one accident of a word, is put for another. Such is the change of a pronoun, as when a possessive is put for a relative, e. gr. suus for ejus; or of a verb, as when one mood or tense is put for another. Dr. A Rees.

ENA'MBUSH, v. a. From ambush. Το hide in ambush; to hide with hostile intention. They went within a vale, close to a flood, whose

emailler; Span. and Port. esmultar. To inlay; fix colors by fire; variegate with colors. As a neuter verb, to practice inlaying or enamelling. As a substantive, it means the substance or work on which this art is performed. See below

Let dainty wits cry on the sisters nine, That, bravely masked, their fancies may be told : Or, Pindar's apes, flaunt they in phrases fine, Enamelling with pyed flowers their thoughts of gold. Sir P. Sidney.

Thy graces and good works my creatures be; I planted knowledge and life's tree in thee; Which, oh! shall strangers taste? must I, alas! Frame and enamel plate, and drink in glass?

Donne.

Down from her eyes welled the pearles round, Upon the bright enamel of her face;

Such honey drops on springing flowers are found, When Phoebus holds the crimson morn in chace. Fairfas

Higher than that wall, a circling row Of goodliest trees, loaden with the fairest fruit, Blossoms, and fruits at once of golden hue, Appeared with gay enamelled colours mixed.

Milton.

Though it were foolish to colour or enamel upon the glasses of telescopes, yet to gild the tubes of them may render them more acceptable to the users, without lessening the clearness of the object.

Boyle. There are various sorts of coloured glasses, pastes, enamels, and factitious gems. Woodward on Fossils. See Pan with flocks, with fruits Pomona crowned; Here blushing Flora paints the enamelled ground. His ears and legs, Fleaked here and there, in gay enamelled pride, Rival the speckled pard. Somerville.

Pope.

On most enamellings, and especially on this, it is necessary also to counter-enamel the under concave surface of the copper-plate, to prevent its being drawn out of its true shape. Id.

ENAMELLING, in painting and the fine arts, is the art of variegating with colors laid upon or into another body. Also a mode of painting, with vitrified colors, on gold, silver, copper, &c., and of melting it at the fire, or of making divers curious works in it at a lamp. This art is of so great antiquity as to render it difficult or impossible to trace it to its origin. It was evidently practised by the Egyptians, from the remains that have been observed on the ornamented envelopes of mummies. From Egypt it passed into Greece, and afterwards into Rome and its provinces, whence it was probably introduced into this country, as various Roman antiquities have been dug up in different parts of Britain, particularly in the Barrows, in which enamels have formed portions of the ornaments. The following are instances in proof of the antiquity of the art in this country: a jewel found at Athelney in Somersetshire, and preserved at Oxford, bears witness to it, and, by an inscription upon it, there is no doubt it was made by order of Alfred. The gold cup given by king John to the corporation of Lynn in Norfolk, proves that the art was known among the Normans, as the sides of the cup are embellished with various figures, whose garments are partly composed of colored enamels. The tomb of Edward the Confessor in Westminster Abbey, built in the reign of Henry III., is ornamented with enamels; and a crosier of William of Wykeham, in the time of Edward III., exhibits curious specimens of the application of the art of enamelling.

VOL. VIII

Enamels are vitrifiable substances, and are usually arranged into three classes, namely, the transparent, the semitransparent, and the opaque. The basis of all kinds of enamel is a perfectly transparent and fusible glass, which is rendered either semitransparent or opaque by the admixture of metallic oxides. M. Klaproth, some years ago, read to the Royal Academy of Sciences of Berlin a very elaborate paper, the result of much research, On the pastes, colored glasses, and enamels of the ancients.' From this we learn that the art of coloring glass seems to be of nearly the same antiquity as the invention of making it, which is proved, not only from written documents, but likewise by the variously colored glass corals with which several of the Egyptian mummies are decorated. This art supposes the possession of some chemical knowledge of the metallic oxides, because these are the only substances capable, as far as we now know, of producing such an effect. Still a difficulty occurs: what were the means and processes employed by the ancients for this purpose? as they had no acquaintance with the mineral acids, which at present are usually employed in the preparation of metallic oxides.

It is, however, certain that the art of giving various colors to glass must have obtained a considerable degree of perfection, as Pliny mentions the artificial imitation of the carbuncle, which was, at that time, a gem in the highest estimation. During the reign of Augustus, the Roman architects began to make use of colored glass in their Mosaic decorations: thus it is known that an application of glass pastes was resorted to in a villa built by the emperor Tiberius on the island of Capri. Several specimens of this coming into the possession of Klaproth, were subjected, by that able chemist, to a chemical analysis; and he has detailed a very particular account of the several processes which he performed to ascertain the component parts of the different colored glasses found in the ruins of the abovementioned villa. His first attempt was upon the antique red glass, of which the color is described as of a lively copper red. The mass was opaque and very bright at the place of fracture; and, of two hundred grains finely triturated, he found the constituent parts to be,

supposition, they had nothing more to do than to select the best colored pieces to fuse and cast them into plates.

In green glass he found the constituent parts the same as in the red, but in different proportions. Both receive their color from copper; and the reason why this metal produces in the one a red, and in the other a green color, depends on the different degrees of its oxigenation; it being an ascertained fact, that copper, in the state of a suboxide, that is, only half saturated with oxygen, produces a reddish enamel, but, when fully saturated with oxygen, the enamel yielded is green.

M. Klaproth next analysed the blue glass paste, in which he found, next to the silex, that the oxide of iron is the most predominating article. He expected to find that the color had been given by cobalt, but could not discover the smallest trace of it, and therefore he infers that its blue color entirely depends on the iron. This excited in him no surprise, knowing that iron, under certain circumstances, is capable of producing a blue enamel, as is clearly exhibited by the beautiful blue colored scoriæ of iron, which are frequently met with in the highly heated furnaces on smelting iron stones. Our object in referring to these experiments is the fact that the colored glass pastes of the ancients agree, in many respects, with modern enamels.

White enamels are composed by melting the oxide of tin with glass, and adding a small quantity of manganese to increase the brilliancy of the color. The addition of oxide of lead or antimony produces a yellow enamel; but a more beauti ful yellow may be obtained from the oxide of silver. Reds are formed by an intermixture of the oxides of gold and iron, that composed of the former being the most beautiful and permanent. Greens, violets, and blues are formed from the oxides of copper, cobalt, and iron; and these, when intermixed in different proportions, afford a great variety of intermediate colors. Sometimes the oxides are mixed before they are united to the vitreous bases. Such are, according to this author, the principal ingredients employed in the production of various enamels; but the proportions in which they are used, as well as the degree and continuance of the heat necessary to their perfection, constitute the secrets of the art. Besides these there are probably other substances occasionally used in the composition of enamels, and it has been asserted that the peculiar quality of the best kinds of Venetian enamel is owing to the admixture of a particular substance found on Mount Vesuvius, and ascertained to be thrown up by that volcano. The principal quality of good enamel, and that which renders it fit for being applied on baked earthenware or on metals, is the facility with which it acquires lustre by a moderate heat, or cherry-red heat, more or less, according to the nature of the enamel, without entering into complete fusion. Enamels applied to earthenware and metals possess this quality. They do not enter into complete fusion; they assume only the state of paste, but of a paste exceedingly firm; and yet when baked one might say that they had been completely fused. There are two methods

of painting on enamel: on raw or on baked ena. mel. Both these methods are employed, or may be employed, for the same object. Solid colors capable of sustaining the fire necessary for baking enamel ground, may be applied in the form of fused enamel on that which is raw, and the artist may afterwards finish with the tender colors. The colors applied on the raw material do not require any flux; there is one, even, to which silex must be added; that is, the calx of copper, which gives a very beautiful green: but, when you wish to employ it on the raw material, you must mix with it about two parts of its weight of silex, and bring the mixture into combination by means of heat. You afterwards pulverise the mass you have thus obtained, in order to employ it. To obtain good white enamel, it is of great importance that the lead and tin should be very pure. If these metals contain copper or antimony, as is often the case, the enamel will not be beautiful. Iron is the least hurtful.

Of colored Enamels.-All the colors may be produced by the metallic oxides. These colors are more or less fused in the fire, according as they adhere with more or less strength to their oxygen. All metals which readily lose their oxygen, cannot endure a great degree of heat, and are unfit for being employed on the raw materials.

1

PURPLE. This color is the oxide of gold, which may be prepared different ways, as by precipitating, by means of a muriatic solution of tin, a nitro-muriatic solution of gold much diluted in water. The least quantity possible of the solution of tin will be sufficient to form this precipitate. The solution of tin must be added gradually, until you observe the purple color begin to appear: you then stop, and, having suffered the color to be deposited, you put it into an earthen vessel to dry slowly. The different solutions of gold, in whatever manner precipitated, provided the gold is precipitated in the state of an oxide, give always a purple color, which will be more beautiful in proportion to the purity of the oxide, but neither the copper or silver with which gold is generally found alloyed injure this color in a sensible manner: it is changed, however, by iron. The gold precipitate, which gives the most beautiful purple, is certainly fulminating gold, which loses that property when mixed with fluxes. Purple is an abundant color, it is capable of bearing a great deal of flux; and in a small quantity communicates its color to a great deal of matter. pears that saline fluxes are better suited to it than those in which there are metallic calces. Those, therefore, which have been made with silex, chalk, and borax, or white glass, borax, and a little white oxide of antimony, with a little nitre, as I have already mentioned, ought to be employed with it. Purple will bear from four to twenty parts of flux, and even more, according to the shade required. Painters in enamel employ generally for purple a flux which they call brilliant white. This flux appears to be a semi-opaque enamel, which has been drawn into tubes, and afterwards blown into a ball at an enam ller's lamp. These bulbs are afterwards broken in such a manner, that the flux is found

It ap