Page:The American Cyclopædia (1879) Volume XII.djvu/807

PAINESVILLE he published an essay " On the English System of Finance," and in the following July a " Let- ter to General Washington," in which he ac- cuses him of ingratitude in not attempting to procure his liberation from his French prison. "Agrarian Justice," and a " Letter to the Peo- ple and Armies of France," appeared in 1797. In 1802 Paine resolved to return to the United States, and at his request President Jefferson offered him a passage in the sloop of war Mary- land, that he might be secure from British cap- ture. He arrived at Baltimore, after an ab- sence from the United States of 15 years, on Oct. 30, 1802. Jefferson invited him to Mon- ticello. At Washington he was cordially re- ceived ; and while there he wrote his " Letters to the People of the United States." On his way to New York he was grossly insulted by the federalists at Trenton. His admirers in New York and Philadelphia honored him with public dinners; his enemies thought that he and Jefferson " should dangle from the same gallows." He finally settled in New York, oc- casionally passing a few months on his farm at New Eochelle. Just before his death he re- quested to be interred in a Quaker burial ground; but the Quakers refusing to permit this, his remains were taken to New Rochelle and buried on his farm. In 1819 William Cob- bett, the English reformer, took his bones to England. A monument was erected to his memory in 1839 within a few feet of the spot where he was originally buried. A memorial building was dedicated in Boston, Jan. 29, 1875, having over the entrance the inscription : " Paine Memorial Building and Home of the Boston Investigator." Among the biographers of Paine are George Chalmers, under the pseu- donyme of Francis Oldys (London, 1791 ; 5th ed., 1792), William Cobbett (1796), James Oheatham (New York, 1809), T. 0. Rickman (London, 1814), W. T. Sherwin (I 819 ), and Gilbert Vale (New York, 1841). The most complete edition of his works is that by J. P. Mendum (Boston, 1856), which however con- tains several articles not by Paine. A new edition of his political works, with a report of his trial in 1792, and also of his theological works, was published in London in 1861. PAINESVILLE, a village and the capital of Lake co., Ohio, on the W. bank of Grand river (crossed near here by a stone viaduct of four arches, 800 ft. long and 83 ft. high), 3 m. from the best natural harbor on Lake Erie, and on the Lake Shore and Michigan Southern and the Painesville and Youngstown railroads, 29 m. N. E. of Cleveland; pop. in 1870, 3,728. It is beautifully situated about 100 ft. above the lake, and contains a handsome public park near its centre and many tasteful buildings. It has an active trade, and contains the works of the Geauga furnace company and several flouring mills, tanneries, founderies, machine shops, &c., two banks, a savings institution, a female seminary, graded public schools, three weekly newspapers, and six churches. PAINTING 793 PAINTER'S COLIC. See COLIO, and LEAD. PAINTING, the art of representing objects by means of light and shade or color upon a smooth surface. Whatever importance such objects possess for the purposes of science, to the painter they present five qualities or ele- ments, as follows : shape (or form), size (or quantity), light and shadow (or gradation), lo- cal color (or hue), and texture. No object in nature is without these distinctive characteris- tics, and no object in nature has other than these for pictorial treatment. Hence a paint- ing is meritorious in the degree that it exhib- its these traits with accuracy. Of the various theories respecting the origin of the art, that seems the most natural which makes it coeval with the invention of writing. Goguet in his Origin* des loix notices the fact that the ear- liest people made their first essays in writing by representing to the eye the objects they wished to impress upon the mind ; and so far as observation has demonstrated, this remark holds good of all primitive races. No date can be assigned to the commencement of this practice, and, as Haydon has remarked, "in what country painting first originated is near- ly as difficult to discover, as it is to find a coun- try where it never existed at all." Dismissing for want of authentic materials any inquiry into the progress of the art among the Chi- nese, the Hindoos, the Persians, the Assyri- ans, the Phoenicians, and their cognate races, by whom it was probably never developed be- yond the rudest stages, we may begin the his- tory of painting with Egypt, where it can be traced to a very remote antiquity. The earliest remains are probably not less than 4,000 years old, and exhibit no inconsiderable mastery of form and expression. Egyptian paintings are comprised in three classes, those on the walls of tombs and temples, those on the cases and cloths of mummies, and those on papyrus rolls. The first are the most numer- ous and meritorious, although none of them can be properly considered works of art, but rather the symbolic writings which record the social, religious, and political life of the peo- ple. Sculpture and painting were originally practised in conjunction, the latter being the subordinate art, and the earliest employment of the painter was to color statues, bass reliefs, and intaglios or sunk reliefs. To this succeeded the execution, under a strict code of conven- tional rules prescribed by the priesthood, of those elaborate works which afford such vivid illustrations of the manners and customs of the ancient Egyptians. According to Pliny, paint- ers and sculptors were forbidden to introduce any change or innovation into the practice of their respective arts, or in any way to add to them ; and hence the monotonous character of Egyptian art, the perpetual recurrence through thousands of years of similar types of form, and the absence of any progressive develop- ment such as may be witnessed in the produc- tions of the Greeks and other races. It was