Encase', v

a. To inclose; to incase. (Paint.) The art of applying vitrifiable colors on thin plates of metal (gold or copper) which are melted on to them, or on pottery, or even gla itself: the gla painting of the present time is chiefly enamelled. This art was practised by the ancient Egyptians and Etruscans. Encase'ment, n. The act of encasing. It was very commonly applied to ecclesiastical utensils Encash'ment, n. The payment in cash of a note, and furniture during the Middle Ages, and was much in vogue with the Byzantine Greeks, and with the Moors. The town of Limoges, in France, acqufred especial celebrity for this cla of art, on metal plates. During the Revival in Italy, especially in the Cinque-cento period, it was much employed for table-services of pottery, and for the ve els of apothecaries. The famed Faenza or Majolica ware is simply enamelled earthenware. One of the first good enamellists, especially of portraits, was John Petitot of Geneva (1607-91). The various colors used are prepared from oxides of different metals, melted with some vitrescent mixture or fluz , and laid on with a fine brush, the medium being oil of spike, or turpentine, or some other e ential oil; and it is easy to conceive how much the difficulties of this nice art are increased where the object is not merely to lay a uniform colored glazing on a metallic surface, but also to paint that surface with figures and other designs that require extreme delicacy of outline, accuracy of shadowing, and selection of coloring. The enamel painter has to work, not with actual colors, but with mixtures which he knows from experience will produce certain colors after the operation of the fire. This work requires several firings. The outline is first burnt in, after which the parts are filled up gradually with repeated burnings to the last finishing touches. The principal colors are oxides of lead, platinum, uranium, and chromium; different colors require different treatment. Silica, borax, and red oxide of lead form a flux for some colors; the oxides of iron and manganese are not approved of. The enamel is made opaque and white by oxides of tin or antimony. draft, . Encau'ma, n. [Gr., a brand.] ( Med .) A tumor pro duced by a burn. - An ulcer of the cornea occasioning the lo of the humors. Encaustic, a . [Gr. en , and kaustikos , burning, caustic, from kaiō , kausõ , to burn.- See CAUSTIC.] Pertaining to the art of painting in heated or burned wax. -. a. To lay enamel on, as a metal; to paint in enamel; to form a glo y surface like enamel. -. n. To practice the art of enamelling. Enam'eller, Enamellist, n. One who enamels. Enam'elling, n. Act or art of laying on enamel. Enam'our, v. a. [0. Fr. enamourer-en, and amour, Lamor, love: Sp. enamorár; It. in amáre, innamráre, to inspire with love, to fall in love.) To inflame or in- spire with love; to charm; to captivate; to fill with delight. Enam'oured, p . a. Inflamed with love; charmed; delighted. Enanthe's is, n. [Gr. en, in, and anthesis, blo om.] ( Med . ) An eruption on the skin, connected with an internal affection, as measles. Enanthiopath'ic, a . [From Gr. en, in; anti , against, and pathos , suffering.] ( Med .) Relieving, but not cur- inz; palliative. Enanthiopathy, n. ( Med .) Allopathy. Enantio's is, n. [Gr., from enantios , opposite.] ( Rhet .) A figure by which what is spoken negatively is to be understood affirmatively. Enara, (ai-na'ra,) a lake of Ru ia, in the extreme N. of Finland, is situated between Lat. 68° 30' and 69° 10 N., and Lon, 27° 30′ and 28° 45′ E. It has an area of -n. (Fine Arts.) A method of painting that was practised to a great extent among the ancients, from the time of Alexander the Great until the 7th or 8th cent., from which time the art gradually declined until the 14th century, when it seems to have been abandoned, and a practical knowledge of effecting it entirely lost. According to the historian Pliny, there were three methods of performing the proce ; the first and second seem, however, to be almost, if not entirely, identical; the first being the method of producing large pictures, and the second, of producing designs in miniature. In the first kind, the color that was intended for the ground of the picture, after having been mixed with wax as a vehicle, was smeared over the surface of the wall or panel on which the painting was to be made, and carefully flattened. The design, whether it was a figure or an arabesque border or scroll-work, was traced on this ground with a sharp-pointed instrument, and the ground carefully removed, leaving the figure in a sort of shallow intaglio. The wall beneath was allowed to show through, or the hollow was filled with wax coloring-matter of another tint; after which the whole was blended together with a hot iron, -a proce which removed all traces of the junction of the different colors, and imparted a brilliant glo to the tints that were used. The second method, in which the work was executed on ivory, must have been similarly done, and the wax-color which had been spread over the ivory removed by the graving-tool, to allow the surface of the ivory to furnish the design; or the design was cut out on the ivory in intaglio, and the hollows thus obtained were filled with colored wax. In the third kind, in which the colors were laid on with a brush, the coloring-matter was mixed with wax di olved in turpentine or some e ential oil. The colors were laid on in a liquid state, and from the use of the brush an effect of light and shadow was obtained which it was impo ible to produce in the other methods above described. When the picture was completed, the tints were blended together with a heated iron as before. About 1750, the lost art was recovered, and the practice of it revived, by M. Bachelier and Count Caylus in France. Both produced pictures in this style, and an account of the method used was published. It was warmly taken up throughout the south of Europe for some years, when it again fell into disuse. It was revived again at Munich in the reign of King Louis of Bavaria, and the interiors of many apartments in his palace, and various public buildings erected under his auspices, were executed in it. Since that time, many fine works in this brilliant style of painting have been produced; but it is far better sulted for decorative work than for portraits, figures, or landscapes. E. tiles, small earthenware tiles used for paving the pa ages in the nave and aisles of churches, and also the chancel. They are also used for paving entrance-halls and the vestibules of houses. They are for the most part in two colors, red and yellow being most commonly used, and they are so called because they have a light arabesque pattern figured on them on a dark ground, or vice vers a, in imitation of the early encaustic painting of the ancients. Encave', v. a. To put into a cave; to hide in a cave or rece . Enceinte, ( ang-sant',) n. [Fr., from enceindre, to encircle.] ( Fort .) This term denotes generally the whole area of a fortified place. Properly, however, it means a cincture or girdle, and in this sense the E. signifies the principal wall or rampart encircling the place, comprising the curtain and bastions, and having the main ditch immediately outside it. -a. (Law.) Being with child; pregnant. Enceladus. ( Myth .) A son of Titan and Terra, the most powerful of all the giants who conspired against Jupiter. He was struck with Jupiter's thunders, and imprisoned under Mount Ætna. Some suppose that he is the same as Typhon. According to the poets, the flames of Ætna proceeded from the breath of E .; and as often as he turned his weary side, the whole island of Sicily felt the motion, and shook to its very foundation. Encephalartos, n. [Gr. an kep halos , and artos , bread. ( Bot . ) A genus of plants, order Cycadaceæ, composed of elegant palm-like trees and shrubs, mostly natives of S. Africa and Australia. From the stems of various species a kind of sago, called Caffre-bread, is obtained. Encephal'gia, n. [Gr. en, in, kephale , the head, and alges , pain.] ( Med .) Deep-seated headache; cephalalgy. Enceph'alic, a. [Gr. en, in, kephale , head.] Situated in the head. Encephalocele, n. [Gr. an kep halos , the brain, kele , a tumor.] ( Med .) Hernia of the brain. There are two kinds of this disease: one occurs in young infants, before the skull is completely o ified; the other presents itself after the destruction of a part of the skull in consequence of disease, accident, or the operation of the trepan. Encephalot'omy, n. [Gr. an kep halos , and tome , a cutting.) ( Anat .) Di ection of the brain. Enchafe', v. a. [Fr. échauffer .] To enrage; to irritate; to chafe. Enchain', v . a. [Fr. enchainer-en and chain.] To put within a chain; to fasten with a chain; to bind or hold in chains; to hold in bondage; to enslave; to enthral; to hold fast; to restrain; to confine. Enchain'ment, n. Act of enchaining; or state of being enchained. Enchant', v. a. [Fr. enchanteren, and chanter , to sing; L. canto , frequent. from cano , to sing. See CHANT.] To act upon or influence by songs of sorcery or fascination; to practise sorcery or witchcraft on any thing; to subdue by charms or spells; to charm; to captivate; to fascinate; to enrapture; to bewitch. Enchanted, p. a. Affected by sorcery; fascinated: subdued by charms; delighted beyond measure; inhabited or po e ed by elves, witches, or other imaginary mischievous spirits. Enchant'er, n. [Fr. enchant eur.] One who enchants; a sorcerer or magician; one who charms or delights. Enchanting, p . a . Charming; delighting; ravishing. Enchantingly, adv . With the power of enchant ment; in a manner to delight or charm. Enchantment, n. [Fr. enchantement.] Act of enchanting, or of influencing by the agency of certain supposed spirits; the use of magic arts, spells, or charms; incantation; conjuration; magic; spell; sorcery; witchery; witchcraft; irresistible influence; overpowering influence of delight; fascination. See MAGIC. Enchantre , n . A sorcere ; a woman who is versed in magical arts, spells, charms, . -A woman whose beauty or excellencies give irresistible influence. Enchase', v. a. [Fr.encha er-en, and cha is , a frame; Lat. caps a , a repository, a chest, a box, or case; Gr. kapр sa.] To incase; to infix or inclose in another body, so as to be held fast but not concealed; to adorn by embo ed work; to enrich or beautify, as any work in metal, by some design; to adorn by being fixed on the surface; to mark by incision. Enchasing, n. Same as CHASING, q. v. Enchas'ten, v. a. To correct; to chastise; to chasten. Encheer', v. a. To enliven; to cheer. Enchis'el, v. a. To cut with a chisel. En'chodus, n. [Gr. egchos , a spar, and odoys , a tooth.] (Pal.) A genus of fishes of the Mackerel family, found in the chalk formation. Encho'riæ, Enchor'ic Characters, n . pl . See HIEROGLYPHICS. En'cinal, or ENSINAL, in Teras , a S. co.; area , about 1,700 sq. m. Rivers . Nueces and Salado rivers. Pop . estimated at 1,100 in 1897. Encincture, n. [Lat. en, and cinctura , a girdle.] A band worn round the body; a cincture. Encircle, v . a . [En and circle. To enclose or surround with a circle or ring, or with anything in a circular form; to encompa ; to enclose; to surround; to environ; to embrace. Encirclet, n. A small circle; a ring. Encké, JOHANN FRANZ, ( enk'a ,) a German astronomer, director of the Royal Observatory at Berlin, born at Hamburg, 1791. He enlarged the boundaries of astronomical science, and resolved the orbit of the comet called after his name. D. 1865. The American Dictionary and Cyclopedia Encké's Comet, n . ( Astron .) A comet of periodic recurrence, to which the attention of astronomers was first especially directed when it was discovered by M. Pons at Marseilles, November 26, 1818. The similarity of its elements to those of comets which had been observed in 1786, 1795, and 1805, led M. Encké to calculate its orbit, and he found the period of its revolution at that time to be just about 1,211 days. The comet reappeared in 1822, and on comparing its elements, and the time of revolution, with those of the comets of the years above mentioned, it was found that they were only succe ive apparitions of the same comet, and that it regularly appeared at its perihelion at intervals of rather more than 1,211 days. It was also found that its period of revolution was gradually growing shorter, at the rate of nearly three hours per revolution, which caused M. Encké to imagine that it was occasioned by some very slight resisting medium spreading throughout the whole of our solar system. It was named after M. Encké, instead of M. Pons, its discoverer in 1818, on account of the succe of the former in determining its orbit and period of revolution, and predicting its reappearance in 1825. For an account of its disappearance, see COMET.