: Encaustic: Or Count Caylus's method of painting in the manner of the ancients. To which is added a sure and easy method for fixing of crayons by M Ntz Jean Henri Caylus Anne Claude Philippe Comte De Other - Encaustic painting

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Introductory account of Encaustic Painting page 1

Observations on Art. the first 41

Method of painting with and fixing of the crayons 97

Remarks on the apparent character of encaustic paintings 119

Experiments 124

Experiments on oil-colours 135

Conclusions 138

Transcriber's Notes

Obvious typographical errors have been silently corrected. Variations in hyphenation and accents have been standardised but all other spelling and punctuation remains unchanged.

'He will not be much embarrassed by this, viz. that whereas according to the supposition of the Cartesians there is but one general law for the union of spirits and bodies, he will have it that God gives a particular law to each spirit; from whence it seems to result that the primitive constitution of each spirit is specifically different from all others. Do not the Thomists say, that there are as many species as individuals in angelic nature?'

The principal point developed by Leibniz is the richness of content which, according to him, is to be found in each 'simple substance'. Its simplicity is more like the infinitely rich simplicity of the divine Being, than like the simplicity of the atom of Epicurus, with which Bayle had chosen to compare it. It contains a condensation in confused idea of the whole universe: and its essence is from the first defined by the part it is to play in the total harmony.

As to the musical score which the individual soul plays from, in order to perform its ordained part in the universal harmony, this 'score' is to be found in the confused or implicit ideas at any moment present, from which an omniscient observer could always deduce what is to happen next. To the objection 'But the created soul is not an omniscient observer, and if it cannot read the score, the score is useless to it', Leibniz replies by affirming that much spontaneous action arises from subjective and yet unperceived reasons, as we are all perfectly aware, once we attend to the relevant facts. All he claims to be doing is to generalize this observation. All events whatsoever arise from the 'interpretation of the score' by monads, but very little of this 'interpretation' is in the least conscious.

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