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THE AET OF
PAINTING
AND
IN
IN OIL,
FRESCO:
BEING A
.
M.
J. F. L.
MERIMEE,
ORIGINAL OBSERVATIONS
ON THE RISE AND PROGRESS OF BRITISH ART, THE FRENCH AND ENGLISH
By W.
B.
SARSFIELD TAYLOR,
LONDON:
WHITTAKER
&
Co.
1839.
(Soo
LONDON
gilbert and rivington, printers, st. John's square.
"tv
rcrrrr?
mc^dv
TO
The
so
much
desired,
and
M. MerimeVs History
of Oil
Painting. &c.
The duty
art. it
is
work on
received
and eventually
for the
a 2
1V
DEDICATION.
me
to undertake
convinced
me
that a
work on
art
intrinsic merit,
Academy would
allow
its
name
to be connected.
my
method that
it
t
my
its
as useful in
new language
I
as
it
is
calculated
have neglected no
opportunity of consulting
and
my
inquiries,
Having done
all
that was in
I
my power
to ren-
art,
which
trust will
not
be without
DEDICATION.
servations on the methods and materials generally
employed
In doing
is
this,
love
of art which of
to
its
true position,
to
whom, and
what circumstances
owes
its
present condition.
Permit
me
my
best thanks
first
which you
excited
my attention
to this work,
With
am,
Your most
W.
B. Sarsfield Taylor.
a 3
REPORT
INSTITUTE OF FRANCE.
The
tracts
following pages, by
way
from the report made to the Academy of Fine Arts in Paris, by M. Quatremere de Quincy, by the the Chairman of the Commission selected
Royal Institute of France, to examine the manuwork of M. Merimee, on this very important
subject,
script
They
will
be found
men
of
qualified
lite-
THE REPORT.
The Commission whom you have selected to examine the manuscript work of M. Merimee, ena 4
"
VM
titled,
*
REPORT OF THE
On Painting in Oil,
made use
of by the
Hubert and
have
"
collected,
much
intended to teach
mate-
and
carefully
oil
paint-
from
its earliest
and Flemish
pure
schools,
oils,
moderns
do, with
but
M. Merimee
describes the
modes of preparing
He
also
communi-
INSTITUTE OF FRANCE.
their action,
IX
oily
may be
united.
He
be taken for
means by permanently preserving pictures, and the time. which they can be repaired when injured by
He
"
finishes his
work by a theory
of colouring, on
setting
The author commences his first chapter by incontrovertible fact, that it down as an
Van Eycl were the inventors of paintand refutes the assertions of Theophihs
the brothers
ing in
oil
;
and Cennino Cennini on that question. " He strongly points out the remarkable fact, that
the pictures painted in
Italy, in the fourteenth
oil,
and
than the major part of a better state of preservation, at a much later the works which were painted
period
;
and
century.
Hence he
employed in the
has been
greatly altered in
descent to us
erroneous.
a5
REPORT OF THE
that of bringing to light the primitive processes of
painting;
earlier
works on
many
time
and exposure
these works
and he
is
owe
modes of combining,
stances
;
by the use of which the colours were defended from the action of causes that have injured or destroyed pictures of
dates.
"
oil,
worthy of remark, that not one of the authors who wrote upon this subject at that time, mentions a
co-
the
" M. Merimee has closely examined, and analysed with great care, paintings of the earliest dates,
INSTITUTE OF FRANCE.
pictures
XI
and hence he
is
porated with
that
sort
oil,
called
hard varnish.
With
respect
commencement
all
size,
primed with a
transparent colours
in this
''scuro,
way
their design
applied
relief
full
pencil,
Van Eyck,
P.
They used to
with
size,
and
It is
"
M. Merimee
is
a6
Xll
REPORT OF THE
is
for
we
see
pictures
fresh,
which appear of a
that in a
little
character
when
And
it
is
not a
little
worthy of
Ve-
distemper grounds.
" After having given a general review of the most
celebrated artists of the schools of Italy and Flanders,
M. Merimee comes
to the
French
school,
which he dates only from the time of Simon Vouet to whose influential example he attributes the small
advances that the French school has obtained in the
art of colouring.
If,
by
this, it is to
be understood
first
number of very
It
clever pupils were formed under him. must be admitted, on the other hand also, that
If the school of
some
INSTITUTE OF FRANCE.
xiii
pretended cause to
all
France
will
whom no
one
deny the
of good colourists.
believes that
"
M. Merimee
And
more
become
better instructed
we ought,
therefore, to indulge
and
compo-
after
some
of the
bituminous substances of which varnishes are composed, and also points out the different sorts of
oil
employed
in painting
but
it is
in the preparation
we
find a great
number of
new and
"
we are indebted
The
12
XIV
REPORT OF THE
may
and we can
M. Merimee, who
it
is
evident
For
is
a remarkable
fact, that
" The
fifth
one
all
modes
it is
in use,
for the
purpose of giving
them
as
entitled
'
a theory of
1
harmony of
colouring.
harmony as
applicable
to
painting,
and
in
so
INSTITUTE OF FRANCE.
XV
This part
is
the
"
mind ideas of
To
fresco, which,
in the title of
;
the work,
is
whether
we regard
in
reference to the
employment of
Commission
are
of
its publication.
Home
Department.
(Signed,)
Quatremere de Quincy,
to the Institute
(Permanent) Secretary
of France.
THE
AUTHOR'S PREFACE.
The
are
pictures of
others of the
same
by
different artists,
now
in
greater
tury
down by
tradition,
have not,
perfectly
time
pure
and
it
is
now
as those which
we
THE AUTHOR
nouncement of
it
PREFACE.
a
XV11
would create
considerable
painting
to be realized
object
if
we should be
by
that
consulting
art,
carefully
the
earlier
treatises
on
of
and by an
attentive
examination
appeared to
me
is
that I
wished, or that
may be
achieved
still
it will
be
and that
in
which others
may
When
him a
fair
first
no doubt of
to
and
am
XVI11
THE AUTHOR
PREFACE.
whom
if
he
bril-
them
after
he
may have
lost
them
a practical knowledge of
acquired by a young
those methods
painter,
may soon be
and
facility
with
such instruction he
picture of Rubens,
may then
Rembrandt,
and Vandifficulties,
in
Every
in
a greater or
desirous of knowing
and there are few books that can give him much
satisfaction in these respects
;
pedie, a
greatest
number
of errors.
THE AUTHOR
it
PREFACE.
XIX
M.
sufficient for
man
this
work
in-
he
possessed,
knowledge
which
If instead of enlarging
own
theory, he
self to describing
made and
higher value.
But
at
all
times, the
work of Tingry
just cited,
are only intended for decorative painting, but there are two others, composed particularly for artists
the
first
was published
at
Rome,
in 1813,
by M.
life,
Marcucci,
who had
XX
THE AUTHOR
PREFACE.
in
this
and to console
all
that
he could
be useful
in chemistry, of
to,
of the art.
is
the
first
most
flourishing times.
To
Rome.
away by the
title
it,
of the work,
and to have
I
made
who le
gave
it
up, as I found
acquainted
sessed
with chemistry,
more
useful instruction.
it
requisite
upon
it
of which he was
capable.
He
contented
himself with
choosing,
among
most
likely to succeed,
himself, as
He may
have
THE AUTHOR
supposed, that in large
reside, their this
PREFACE.
Xxi
cities,
wants are
easily supplied
;
by commerce
may
be true so far
but
it
may
found
would
it
may require
the best
:
The second
part of the
work
is
it
con-
upon
M. Marcucci
knowledge
on
In
fact, it is
by the
of
made
method
of each master.
is
that of
M.
Bouvier, himself
member
published
Geneva.
the
title
He
Young
Ama-
teurs in Painting*."
is
in
XX11
THE AUTHOR
PREFACE.
placed under the instructions of a skilful master, are therefore acquainted with the various
resources of art
;
means and
but
it is
chiefly
tion,
in the exercise of
the art.
situations the
most favourable
the
effects of cer-
tain colours,
requisite to be
The
artists for
and
commencement
all
that
durability.
In
became
ness of traders,
their
own immediate
THE AUTHOE
preservation of pictures.
PREFACE.
XX111
The
artists then,
no
from the
inferior sort,
came
to their hand,
To such
causes
may be ascribed
that has taken place in the greater part of the pictures of the last century
;
but as
it
happened
in
would not be a
if
the works
not ap-
some other
able
men had
become more
colours
careful
and the
business
lucrative
:
of preparing
has
become very
the
number
creased,
it
those of their
;
children
who
are to succeed
them
in their business
who
pre-
XXIV
THE AUTHOR
PREFACE.
The
show
which have
been collected
of the
should
work
have
most
ancient painters
of
the
we
but
and to
this
is
to give clearness
it
to
the preparation
their action
and
solidity
of these
colours
together in various
liable
and
THE AUTHOR
Finally,
I
PREFACE.
XXV
means
to be
employed
liable.
in repairing the
not a part of
my
duty.
The
the
modes
much upon
may
his
possess
to return to
work repeatedly
it all
painting
up at once
Rubens
therefore
am bound
of others.
most convenient and agreeable to himself. I to give an account of what has been
down
was of opinion
along,
that at
harmony of
colouring.
With-
out an harmonious arrangement, brightness and transparency of colour cannot produce an agreeable
manner
only
conceive
that
the
XXVI
THE AUTHOR
its
PREFACE.
comprehended,
of colours.
is
way by which
to found
principles can be
had
me
to
add to
it
ground that
it
I
:
was not
sufficiently
acquainted with
practically
why
consequently,
without
1
utility in
the arts. 1
I
It
had made
but
my
prepara-
essay, that
was
told of the
;
work which
occupations
M.
my
me
sufficient leisure to
I
and
we have adopted similar views on points of the importance. M. de Montabert is of the same opinion with
who
is
owing
to the
and we
mony" ought
I
it
to
have
who has
so deeply
INTRODUCTION.
The
translation of
11
M. MerimeVs
was
Painting,
which
me by some
the Royal
members
of
Academy
and de-
scribed
it
in the arts.
The
partiality
book excited in
me was
members
of the
in their possession.
I applied
;
to the Royal
I
Academy
them
in
for
their sanction
and
to
their
Sir
Augustus Wall
Callcott, Sir
a 2
XXV111
INTRODUCTION.
translation of the
work
which, after
many
inter-
completed.
Had
that
work been
originally
;
my
own,
would
it,
and
scientific
societies in
;
Europe,
mean the
my
readers.
therefore,
That M. Merimee,
was
fully
compe-
work highly
and
to have
done
this,
it
These various
M. Merimee
possessed in
an eminent degree
had
undertaken.
INTRODUCTION.
XXIX
we
think, emi-
and gentlemen
will
them
or at least
will
the possessors
of these fine
works
who do
much
Against the
made up
in
a fraudu-
manner.
receipts for manufacturing the colours,
oils,
The
and amateurs
perhaps,
in the
whole work, as
every artist knows that the preservation or destruction of his colouring depends mainly
The chapter on
colouring,
a 3
XXX
of colours,
It lays
is
INTRODUCTION.
one of very high interest to colouristsprinciples of
down the
With
us
these
on
light,
which gave
scale,
as applicable to painting
in
1
see
in
close of this
work
so that
in that respect
is
by above
fifty-four years,
little
known
lished
in
it
;
and
it
until
Mr.
of
Phillips,
R.A.,
at
in
his
course
lectures
the
Royal Academy,
in
about twelve
explanation of
years ago.
in colouring are
in the
work of Mr.
their
M. Merimee, although
" Frescos"
The information on
is
altogether
new
INTRODUCTION.
in this country,
XXXI
and
is likely if
to prove
an acquisition
men
It
of
demand
is
that
it
shall
splendid art,
situations
;
when
and
in this climate
fine effect, if
employed
With
at
the
of the volume,
still
exists in
English society, with respect to a general and correct view of the rise, progress,
and condition of
An
submitted to the
England.
It will thus
we
shall
greater
part
of
whom
returned
realized
XXX11
INTItODUCTIOX.
were
of
when some
them
It is therefore
it
was not
commenced
their living
;
model school
only
1760
and
it
became
by George
III.,
in
1768,
(seventy years;)
it
and
would
be
difficult,
if
in
improvement;
we should
also
recol-
may
have received,
nobility
all,
and gentry of
works exit
edifices.
Besides,
should be
full
were
two
in activity,
before
INTRODUCTION.
assisted
XXX111
and
private,
The northern
still
slower
in arriving at the
us.
It
is
clear,
parallel
;
and
And
to
it
idea, that
these
was applied
erroneous
The
show
in sculpture
so have Rossi
And
we
have' at present
artists.
some
bred
XXXIV
INTRODUCTION.
in their
native land,
and
disabuse the
general
mind,
of the
float
still
indistinctly
now
feels himself
on to
The
of
which
and to
in
Europe
emulous to
elicit
At
there
is
evidently a
good
is,
in
:
talent displayed
and
if
our school
may have
may
being more of the ornamental, than of the historic, or epic style, this
INTRODUCTION.
when wo
for
art.
see
how
is
the
in
Queen
Victoria's reign
whom
men
must
a vigorous existence.
The chapter on
scale,
colouring,
between
pictures.
repeated revision.
XXXVI
INTRODUCTION.
will
trusts
it
executed with
notionswhich
still
exist
amongst
us, to
the prejudice
but in
illiberal,
or of conci-
expense of justice.
*-
CONTENTS.
CHAPTER
An
I.
PAGE.
Inquiry into the various methods employed in Oil Paint-
ing,
from the
;
present time
days of Hubert and John Van Eyck with original observations, &c
to the
1
CHAPTER
On
varnishes
II.
'
SECTION
Of the
different substances
I.
of the varnishes
4&
THE BITUMENS.
Asphaltum, or Bitumen
4(l
'"'
Amber
XXXV1U
CONTENTS.
Gum animee Gum copal Gum lac Gum mastic Gum saiularach
4g
,,
50
51
ib.
THE
Fixed or solid
oils
OILS.
52
Linseed
oil
53
54
ii.
oil
55
58
59
ib.
Petrolium, rock
oil,
or naphtha
ib.
SECTION
II.
61
Flanders varnish
English varnish
Oil copal varnish
63
(JO
ib.
Picture varnish
80
CONTENTS
XXXIX
CHAPTER
On
the use of varnish with the colours
III.
PAGE.
84
SECTION
On
glazing
I.
**"
SECTION
Effects of air
II.
and
light
upon
oils
90
SECTION
The
III.
92
CHAPTER
ON
T1IF,
IX
PREPARATION OF COLOURS.
YELLOWS.
Chromate
of lead
94
9G
!)
Naples yellow
Iodide of lead
103
*"
The
ochres
Orpiment
Sulphuret of
10(*
Cadmium
'"'
Gamboge
Indian yellow
I08
'""'
'"
b2
xl
CONTENTS.
THE ORANGE COLOURS.
PAGE.
Orange chromate of
110
ib.
HI
(realgar)
112
THE KEDS.
Carmine
Cinnabar, or vermilion
Periodide of mercury
112
117
1
20
Lake
Methods of preparing lake Brown Pink
=
122
126
1
29
Madder lake
Observations on the foregoing substances
130 138
THE VARIOUS QUALITIES OF MADDER LAKE, AND THE SELECTION OF WATER FOR THE OPERATIONS.
The The
violet-coloured substances, and the effect of acidulated
144 140
1
water
precipitation of lake
48
of iron
50
PURPLE COLOURS.
Cassius purple
Tritoxide of iron (purple oxide of
iro>i)
151
152
THE BLUES.
Cobalt blue (arseniate and phosphate of cobalt and aluminc)
F.gyptian blue, used in ancient times
153
155
CONTENTS.
xli
I'AGE.
Blue ashes
Prussian blue
.'.
58
Ultramarine
102
THE GREENS.
Malachite and mountain green
170
171
Oxide of chrome
Green earth
(terra verte)
173
175
170
1
79
Asphaltum, or bitumen
181
183
185 180
187
Ivory black
18/
Bone black
Charcoal
Liege
Coffee
188
ib.
ib.
ib.
Lamp
Indian ink
189
ib.
Ceruse
201
ib.
Flake white
Krems white
205
212
A method
xlii
CONTENTS.
CHAPTER
On
the preparing
V
PAGE.
walls
Priming on
taffety
222
ib.
On
An
priming walls
expeditious method of laying in a dead colour upon dis-
temper ground
224
CHAPTER
On
the preservation of pictures and
VI.
the
methods used
for
restoring them
227
CHAPTER
A A
theory of the principles of
VII.
harmony
in colouring
242 245
CHAPTER
On
The
fresco painting
VIII.
271
279
CONTENTS.
xliii
SUPPLEMENT.
CHAPTER
SECTIOJs1
I
I.
I.
PAGE.
ntroduction
291
293
SECTION
of painting
Sir J. Reynolds's notes,
II.
&c
33C
CHAPTER
chromatic scale
II.
with
349
Academy
351
CONCLUSION.
A
plan for encouraging the cultivation of the grand style of painting in England
List of noblemen and gentlemen
still
362
Architectural Society
Institute of Architecture
368
ib. ib.
School of Design
369
lectures, &c. at the
Account of premiums,
Royal Academy.,
ib.
xliv
CONTENTS.
PAGE.
Drawing Academies
The Antique School The Living Model School The Painting School
Mr.
Sass's
:
'&&
&
ib
-
3 70
*7
Exhibitions
Royal Academy
British Institution
Artists' Gallery
**
*
Societies:
ib
-
ERRATA.
Page 34, line 21, for che si fania, read che si iaccia. Page 81, lines 8 and 9, for parts read drachms. Page 182, line 5, &c./or grains read drachms.
THE ART
PAINTING IN
OIL.
CHAPTER
AN ENQUIRY
INTO,
I.
AND OBSERVATIONS
UPON, THE
THE DAYS OF HUBERT AND JOHN VAN EYCK TO THE PRESENT TIME.
For a
long series of years
it
opinion, that
coverer of painting in
Some
learned
men
have,
But
to conclude
at-
Van Eyck had any knowledge of whatever tempts may have been made in that way before
that
his
2 time
THE ART OF
;
so important to
One
thing, however,
is
quite clear
which
is,
Van
such progress, that the discovery of painting in oil This could not have been much longer delayed.
event was in some degree inevitable
;
and
it is
sur-
same time,
in all
At
colour
For some time previous to the fifteenth century,* almost every now in use was known. Painting on glass was practised enamels were fused to be employed for mosaics and, by the aid of commerce, the artists could and did obtain the Ultramarine, India lake, and Chinese vermilion
;
and they
likewise understood
how
to
prepare them.
Cennino Cennini, in
by which the ultramarine was extracted from lapis lazuli and he also mentions the lakes which were extracted from the resinand it is lacs, or that were prepared from the shearings of wool
; :
was made, the mode of preparing which has been described by In fact, the varnishes Neri, in his treatise " Del Arte Vetraria." had been in use for some centuries and the discovery of distilla;
oils
tion had enabled the chemists to produce the volatile or essential with which the varnishes, when too viscous, might be diluted,
as liquid as
and rendered
might be required.
In 1781, Dr. Ilaspe published, in London, a dissertation to oil painting was erroneously attributed
The celebrated
Cinque Cento.
PAINTING IN
OIL.
or,
as
it
is
comafter-
;"
and they
In support of his
mencement
were painted
attention
;
to refute
we
and
composed of
this oil
and of
a re-
He
then points
ought to be painted
oil
to
apply
painting
to pictures.
And
further, in refutation
of Dr. Raspe,
we
no means
to
;
completely dry
and he adds this remarkable passage, that such a method would be too slow and too laborious for painting pictures. (Quod in imaginibus
diuturnum
et
tadiosum nimiiim
est.)
Had
upon
much
Germany
(che
I'usano mollo
Tedeschi).
Yet
these passages of the work do not afford any better proofs than
we know
Van Eyck
painted in
oil
an unfinished
to
state,
paint for a
John, at Ghent.
B 2
THE ART OF
to
same
time,
The
colours,
in
the
first
is sufficiently
obvious, not to
;
have suggested
itself to
the
human mind
and
it is
One
of these works,
Lamb"
in the
by the Flemish
artists,
:
whom,
in all
Germans hence, not being at acquainted with that process as used for pictures, but merely the process employed in house-painting and decorating, he deall
scribes that
method of using
it
day
half
to paint walls,
wood-work, and
casts,
sculpture.
its
He
quantity by boiling, or by exposure for a sufficient time to the heat of the sun. It is with this viscous oil only that he
directs the colours to be tempered
;
idea
how
more
liquid, or
how
to
facilitate the
and he then directs that the tints should be put into small pots of glazed earthen-ware, in
;
the
same way
It is quite
evident
*.
et des Arts, in
which several
PAINTING IN
to
OIL.
make
it
available
but
many
difficulties
were to
fairly
artists, in fact,
requisite information or
by which their
efforts
The
know how
to
render
it
to
mix
we know
that there
oil
is
a great diversity
;
on various colours
some of
oils,
whilst
and bitumieffect.
The
the colours at
Van Eyck,
it
first
to discover
and
if
he
may
not be
THE ART OF
era.
In
are
Biographers,
to us
some
accounts of
Yan Eyck,
thod of painting.
It is stated
by these writers,
They
state
split
by
mined the
artist
moment, the
fruits of
is
of distemper painting
was
make
a
in
PAINTING IN
very high degree.
ties of
OIL.
difficul-
of art,
manual labour, and to increase the resources were sufficient incitements, it would appear,
to inspire
vehicle,
him with a
desire of obtaining a
new
by means of which the colours, when dry, would preserve the transparency and brilliancy which
they possess at the
to the canvass,
moment
same time,
would allow them to dry so gradually as to give the and artist sufficient time to combine his half-tints,
produce the
effect of
Thus, as
being incorporating the varnish with the colour, the most simple, we may infer that it would naturally,
mind of
Van Eyck.
The
colours
liable to
may
appear,
it
is
would
attempt to establish
my
opinion
that
is
founded
oil-
THE ART OF
pictures.
has demonstrated to
me
Van
with
of a
more or
less
which
is
the cause
we
witness in so
many
Having formed
my
opinion from
I
my own
sought for a
corroboration of
it
in the
works of
I
different authors
who have
have consulted
we
are acquainted,
I
expected to
but
my
I
as I could wish.
Yet
disappointed
all
and
collect
on this subject.
PAIXTIXG IX
Oil.
We
who had
invited
Leonardo to Rome, and had engaged him to decorate several walls of the
Here, instead of finding, as while he was absent. he expected, designs and cartons for the work, ho
utensils,
where others
lish artist,
to
ment of varnish
as a proof that
and he considers
this
Leonardo was
There would be
theory,
for the
if
little
difficulty in
proving any
;
so vague as this
were intended for the making of varnishes, might as oils, or for well have been used for making drying
rectifying oil of turpentine,
operations which
when the
it
is
fabrication
10
THE ART OF
In his " Traite de Peinture" Leonardo da Vinci
varnish, except in
is
For he
it
soluble salt,
and that
is
the reason
moment
it
became
dry.
amber and
nut
oil,
or simply of nut
oil
thickened by exposure
to the sun.
is
nothing to show
who has
and who
lived
He
strongly
general painting.
He
says,
is
first
painting
PAIXTIXG IN
OIL.
11
For
work,
it
is
usual to glaze
degree of finishing.
To
it
facilitate
the execution of
to be repainted
in
which
is
must be
fine
lightly
oil
;
nut
the work
with
silk
removed of the
which,
it
if
allowed to remain,
would be detrimental, as
This
preparation very
much facilitates
difficult parts of it
may be com-
In
softness
and sweet-
" I
now
way, though
stuffs
made
way.
After
12
THE ART OF
laid
having
and white,
varnish
is
full
verdigris.
With
this
is
only
V
Ma
finite
le
cia di
di quelli
coprano
le
cose
le
perchioche questa volta piu presto si vela che quali sono gia condotti bene al segno e special;
mente
le carni e
perche egli
vi riesca
si
bene
si
mano
col spargerlo
ugualmente per quello spazio il che fatto si netta con pezzette di panno lino, perche quando riman mal netto s'ingialliscon i colori
con tempo
;
schiffar
puntosieche
adope-
con
facilita si
Quivi
gli esperti
si
rano
le loro
e detto)
ri-
non coprendo ma velaudo sottilmente quel che maner dolcissime e morbide le carni e i panni.
e sotto
ne fan
Ma
ritorno a
si
il
usano se bene
vederli di
e valenti cio
solo,
un color
noudimmo non
Se
il
li
panno si ha da far verde il modo predetto sara che dopo che non verde negro e bianco si sara bozzato, che sia alquanto
crudetto,
si
commune
mente con un penello grosso di vajo. Ma se sara di lacca, si tien con quello il medisimo stile mettendovi dentro della predetta
vernice
:
e cosi si
si e
per
velarli.
PAINTING IN
OIL.
13
The
Gr.
He
describes
picture
;
how
he
to paint
tells
us
part
intended for
repainting should be
moistened slightly by a
oil clari-
the sun.
modes of the
art, it
must
moment
it
came
was known
at first only to
it
to
themit,
Others,
it
sought to find
had much
The process of
known
oil
The methods
of making
oils,
by
distillation.
By
render
fore,
fluid
nothing, there-
of giving a
oils,
to coun-
14i
THE ART OF
in that quality.
;
deficient
fully
Of
this
we should be we should be
aware
and even
knowledge of
Van
Eyclc's process,
simplified.
The most
certain
primitive
sons
who
We
oil
epoch of
of a later date
better
;
much
and
that, if
rubbed with a
file,
they show
is
con-
oil,
call
" hard
By
number
of pictures painted
from the beginning to the end of the sixteenth century are painted on
wood
12
PAINTING IN
OIL.
15
oil,
them more
There
is,
merely dead-coloured
drawing
in bistre,
have
Van Eyck,
as
it
was con-
Roman
da
P. Perugino,
Raffael,
of the
their primitive
method
would most
This method, which habituates the eye to transparency, and seems on that account
to colourists,
more agreeable
in the
Venetian
first
of
them who
commenced painting
Titian,
in
oil.
16
THE ART OV
They had, no
tage of making
commenced
tures with a
full
a gray
this
There
many
;
pictures of Titian
generally, they are
made
of plaster
We
commencement
it
of painting.
As
tone, produced
a new series of
Even
in
but
no
PAINTING IN
OIL.
17
The
extensive use
made
of glazing by the
Flemish
This glazing
its tint,
is is
formity of
and
but
it
would be quite
oils.
painters
I
not
and
if
occasionally
we see some
parts without
it,
we
been car-
to the inconveniences
For
it
does sometimes
this
colourists of
must acquire
in time.
18
THE ART OF
Thus
Titian and P. Veronese laid in their pic-
described by
Leonardo da Vinci.
produced
in this
to the period
when painting
distemper had, in
astonished that
am
rivable
from
If the
methods used by
Van Eyck
of which
have been
in
alteration,
it is,
that
school
he was the
founder, that
we must expect
this process
to find them.
Otho
after
Venius followed
two centuries
it
Van
who
to Rubens,
tion in the
works of
owing
pre-
PAINTING IN
OIL.
19
masters
sometimes
also,
colour.
The
Luxembourg
manner.
is
There
may
be
The
the effect
is
of a brownish
colour, of the
observable in the
The
lines
;
fine,
yet
full
of colour
on the surface
the ridges
;
and
full
(J-rwtA
Doubtless
flow freely
it
is
easy enough to
make the
pencil
'
lightly moist-
ened with
thereon
;
oil,
may be traced
neatness
gone.
If
we employ
liquid transparent
20
THE ART OF
remain an instant
:
as
we have
oil
the lines
become more or
Rubens has
He
used very
little
;
it
in
solid colour.
If,
in
use,
we should
we should soon
by an
insurmountable
difficulty.
The
a second at-
first
and we should
surface,
the colour.
If,
employed,
we
therefore
why
more
fit
to
that the
never separated
of the colour.
We
PAINTING IN
OIL.
21
movement
of the pencil,
and
at the
same time
to
make
tendency which
Yet, when
regio
;
in Italy,
with a
But on
his return
the trans-
Rubens
and
his
method
of dead colouring
was not
like that of
so brilliant
and so transparent,
not to be doubted he
made use
of var-
at first adhered
to
the
cess
and
when
in Italy
he painted
22
with a
full
THE
AliT OF
body of colour,
in
like
Titian
but was
more cautious
for a system of
many portraits,
As he
consequently he used
it
but
seldom.
he recommended
application, as they
would find
of the of the
in the
most
most
brilliant carnations.
made
use of cinabar
latter
exceeded
much, that
his pictures
present
little else
that of
Rem-
in his earlier
works
remember having
Palace at
Rome
picture by
Van Dyke,
manner
in
ition in the
PAINTING IN
gination
OIL.
23
it,
as he no longer at-
Im-
whatever
Then
tints
;
and transparent
but
care in
making up
his
lost transpa-
rency by glazing. It
like this, in
the
later
manner
was
less
first.
Dow
for
of that artist,
his imagination
be diminished
when we
find,
24
It
THE ART OF
seems to be the
fate of the arts, that their de-
when the
Even the
chief
practitioners,
who
chefs-cTouvres
The
greater
number
fresco,
more or
The
and were no
By
this
ceiving
it,
certain forms
and
all
tints,
as
if
reasonable to
style of
;
Vouet
he treated
PAINTING
history in a
IN"
OIL.
Z-)
just
manner than
He
the
numerous pupils of
his school
distin-
Our
historical
:
who painted
life
;
and
it
may
be
the
first
methods
and,
finally,
that
La Fosse
is far
from be-
Perhaps he would
like
and
life.
He
26
quainted,
if
THE ART OF
he had been obliged to apply himself
school,
"
that we may
of the
methods employin-
he understood how to
by
and transparency
of colours.
of fine colouring
and
Whenever
downward career
it
to
when the
faithful
down upon
as
Under
tates of
this
obtained by a
mean submission
bad
it is
taste.
motive,
may
and
be called
different
PAINTING IN
OIL.
27
and the
is
pretended to display so
in proportion as it diverges
This
is
not an exaggera-
he says,
as
much nearer
perfection as the
means
of the artist
,1
in
the
in prac-
of a
young
girl,
facettes.
which he would
attain,
about methods he
may
adopt.
It is easy to con-
but this
method
of proceeding.
Greuze
c2
28
those
THE ART OF
who have
materially assisted in restoring the
the art to
nature."
its
true basis,
" the
careful study of
The
following
detail
of his
method
is
given
He
it
in first
with a
body of
colour.
this
Afterwards,
dead colour, he
in his
entirely,
with
transparent
colours
combined with
of which his
means
But as he did
finish his
it
he could not
;
work
in the
second operation
in
therefore
still
appeared only
but at
last,
mode
was
produced.
Sir
PAINTING IN
OIL.
29
By
profoundly
Rembrandt, and
own system
He
he afterwards
laid
on
his colours,
this
When
colours,
with solid
glazing.
In this
in Italy
;
way
tried a
it is
much
to be regretted
any notes on
this subject.
The
fresh
from the
easel,
but several of
lost their
charming tones
;
some
have
oO
laid
THE ART OF
;
many
and
light
air,
the
oils
and varnishes used having been badly preLike P. Veronese, he has often painted on
pared.
distemper grounds.
There
is
on such a ground.
At the
which
which
is
size,
oil,
its
having
it
Mengs
colours
;
and
is still
Among
the
modern painters
could mention
many
others, to
show the advantages derivable from the proper combination of varnish with the colour, but I prefer re-
who have
I shall
followed the
Van Eyck
first
and
belonging to the
painting,
may
it is
the portrait
of " the
Marquis of Granby."
PAINTING IN
OIL.
31
that-
offers
a stronger re-
receipts for
The
first especially
has
an excellent
in the early
was abandoned
but, inis
justify
it
can
now be made
as fine as
in use.
Those who use it at the present time, either on pictures, or generally in painting, are not in possession of
a method by which
it
without inconvenience
varnish owing as
it
does
to
examine
Giorgione which
ployed an
the
Museum, No.
it is
1011.
This work
is
by drawn
em-
varnish, for
run
c 4
:\'2
THE ART OF
to the essential oil of turpentine, which
its fluidity
movement
of the pencil.
oil in
which they
greater
facili-
The
combined
have found
it
em-
ployed in Ttaly
its
cient.
honey
in consistency,
oil)
:
named
oil,
(baked
fire,
it
is
merely nut
in solution
and holding
as
much
litharge as
it
will retain.
In using this
to
method
is
mix
it
with
common
in
varnish
is
this
which
and yet
on the palette
This quality
ter
is
it
holds
its
no mat-
how
may be
that are
made
PAINTING IN
the.
OIL.
33
superior
it
be
dissolved in drying
or
oil
of turpentine,
it is
is
equally
clammy and
it
intractable, for
impossible to keep
it
sufficiently
thin
is
With
which
is
though
this
materials.
is
Whenever
it
must be com-
bined
great
which does
not require
much
time.
I believe,
There
is
was employed
and has
a short time.
fine
It is
composed of mastic
in grains,
and
34
oil.
THE ART OF
Prudhon, a
man whose
used
it
loss is
still
!
regretted by
the friends of
art,
constantly that
and
it is
not
medium
we can
attribute the
:
they
would
all
like
if
his
Psyche,
his Zephyrus,
From
scribed by Armenini. 2
1
In the latter years of his life he gave the preference to the varnish of Theophilus, the preparation of which will be described in the chapter on varnishes.
2
lo
li
Alcuni dunque pigliavano del oglio d' abezzo chiaro, e facevano disfare in un pignattino a lento fuoco, e disfatto bene,
. . .
.
lo
altro, oglio di sasso, gettandovelo dentro subito che essi lo levavano dal fuoco, mesticando con la mano cosi caldo, stendevano sopra il lavoro prima posto al sole, e alquanto caldo,
;
ponevano tanto
e questa ver-
nice e tenuta
la piu sottile, e piu lustra d' ogni altra che si fania; ioho veduto usarla cosi per tutta la Lombardia da i piu valenti; e mi fu detto che cosi era quella adoprata dal Corregio e dal Par-
se
si
puo credere a
quelli
che
li
furono
Altri sono che pigliano mastice che sia bianco et lustro, e lo mettono in tin pignattino al fuoco, e con esso vi mettono tanto oglio di noce chiaro che lo cuopra bene, e cosi lo lasciano disfare, tutta via mesti-
cando
lo
assai
una pezza
vi,
piu lustra se
e tutto in
fini,
nelle lacche e in
12
PAINTING IX OIL
Mengs, mastic
is
35
That
greatly
augmented by
sottilissime liano tanto mastice quanto sandaracha, e ne fanno delle polveri e le coprono con oglio di noce al fuoco nel modo
altre de sopra, la qual poi collata vi
di
la
aggiungono un terzo
di oglio
abbezzo e
vernice
si
lo
ma
verrebbe viscosa
e tutte
mentre
fanno disfare
al fuoco, si
conservano
farsi
piu purgate, et
sottili.
Translation. Some
fir-deal) in
(that of the varnish by placing a portion of transparent turpentine a vessel, and exposing it to the action of a slow fire;
when
the
mix it
well together
then
it is
taken
off"
fire,
oil) is
added
the
these being well incorporated, the liquid is which has previously been warmed by the sun's heat.
species of varnish, this
is
Of
all
brilliant.
Lombardy, and, if we credit the I have seen it used all through employed by reports of Corregio's and Parmegiano's pupils, it was
those two great masters.
Other Artists used white and clear drop mastic for this purpose nut oil just to they poured upon a quantity of this gum sufficient until it discover it, then they kept stirring it over a slow heat smooth cloth. of apiece through it straining finished by and solved,
brightThis varnish acquires a greater degree of transparency and calcined alum is if when it has commenced to boil, a little
ness,
added
to it finely
powdered.
it
causes
them to dry very quickly. Another method employed, is to take equal parts of mastic and gum sandarac, and dissolve them in nut oil, as described in the fine preceding process; when ready, one-third of their bulk of
turpentine
must not be conis to be added; after this the boiling too tinued along time, because the varnish would otherwise become
C 6
36
varnish
is
THE ART OF
allowed by
all
painters, but
it
is
found
is
appear often
in pictures,
which we
may
control.
It is
not
uncommon
to see
execution
happens when we
employ
in succession several
is
brilliant
they often
is
of turpentine, which
much
lar effect,
In all these operations, great care must be taken to keep the mixtures constantly stirring with a spatula.
These varnishes, when safely kept from the air in proper vessels, become very clear, and acquire by time a finer quality and better
substance.
PAINTING IN
loees
its
On,.
37 on the upper
transparency,
it
it
dries only
part, a portion of
dry
itself
perature
raised to a
certain
height,
becomes
it is
ex-
From
it is
these observations
we must conclude,
that
is is
becoming cracked
this is proved
re-
pictures, yet
we do
find
them
in his
They
with a
upon a part of the picture which had a strong laid on, and which had only dried on
38
THE ART OF
alteration,
in
and
manner of each
school,
and of the
several masters,
entire code
may be reduced
two points,
viz.
transparent,
To
gain
this
essential
object,
some
little
colour
menced with
glazing,
solid painting,
and then
by
transparent effects
and thus by
;
different
modes
solid
for
of Titian and
Rembrandt are
equally
in
many
pic-
afterwards caused
many
Artists to give up
the
advantages of transparency.
Sasso Ferrato
is
an example of this
feeling in
PAINTING IN
the seventeenth century,
followed the
1
OIL.
o9
In this essay,
think
it
is
sufficiently proved,
the Artists
who
and
this
it
all
the
as a secret, to a select
number
of
practitioners,
oils,
practise.
Van
Eycks,
may have originated, is less liable to change, than any other known method, is quite evident, and that we may consider
it
certain, that
Rubens adopted
;
it
quite clear,
which
is,
many
which cannot be
faithfully imitated
by any of our
common methods
1
of painting
yet
when we make
1605, died in
1G85.
tO
IN'
OIL.
is
an ingredient,
my
if so,
how
far
they
may be may be
now proceed
to describe the
originally
used
in
the
Flemish
and Venetian
schools.
CHAPTER
II.
THE VARNISHES.
Every
which,
gives
it
substance
may be
considered as a varnish,
when
a permanent lustre.
Drying
oil,
thickened
fire, is
a varnish,
It
is,
howdis-
composed of resins
solved in
oil,
But
it
is
beyond
all
doubt, that
when the
arts
flourished
in Greece, the
composition of varnish
in India, Persia,
and China.
if
we
who
tells
employment of a
42
liquid
THE VARNISHES.
which he
calls
covered his pictures when they were finished, and with which suhstance no other painter was acquainted.
is
in the
atramentvm, which
when the
liquid,
we
the brightness
and
their lustre.
It
it
was not
it.
One
of
that
the
brightest
colours,
under
its
influence, so far
if
from dazzling
tints,
render1 "1
them more
saw
in this ar-
Unum
imitarinemo
potuit,
illi-
manum
intucnti
demum
e
10.
THE VARNISHES.
43
which he owed,
in
mented the
the
same
more
into hareye.
But
liquid of a
uniform tint
in-
neither did
a transparent
tint,
liquid,
supposed to be of a brownish
2
would imply
and
when
any way
soil
or discolour
them
and
this
can only
Refer
to the
note 37 on the
poem
end of
2
his discourses.
is
was composed.
and carbonaceous matter of which that substance From this it would appear, that not having an
it,
appearance.
this tone
it
appears
so, at least,
when
it
is
when applied
it
in thin couches, it is so
most
may
be applied.
THE VARNISHES.
Reynolds, in adopting that meaning of the above
He
described, or
Apelles.
understood,
the method of
However
this
may
be,
even admitting
known
it
and
is
some time
empire)
it
and
we
find a
method of preparing an
oil
varnish very
for
well described.
The process
is
is
remarkable
being
for the
difference, that
is
any essential
at that time
oil
it
to render
more
fluid.
In
fact,
;
for
oils
in three classes,
BITUMENS.
viz. spirit
oil
45
Alit
painting,
its
preparation,
in the process of
of turpentine, but
it
is
composed.
I shall
for
when
paring them,
should describe
such as
SECTION
.SUBSTANCES WHICH
I.
OF VAItNISH.
BITUMENS.
These substances, which are unctuous and
flammable, are dug out of the earth, and in
in-
many
46
ASPHALTUM
AMBER.
origin.
Of
in
only
used
painting.
ASPHALTUM.
This substance
is
brown
masses.
colour, hard
It
and
brittle,
forming compact
is
and
in the
drying
It
unless
in
AMBER.
Yellow amber,
classed
called also carabe, or succin,
it is
is
among
yet
it
found
in
the
earth
a vegetable
origin.
In
fact,
and we sometimes
find pieces
inci-
of
it
in
was
1
in a fluid state.
articles
Vide the
of colours.
RESIXS.
47
Amber
yellow
it
is
parent as glass
:
its
colour,
different
shades
of
air
other resins,
receiver.
Amber cannot
varnish
Amber
their
employed
with
dark colours,
:
to
strength and
stance
;
transparency
oxide of
colours.
1
the
manganese
and
all
the
brown drying
RESINS.
These substances,
like
more or
less so in alcohol,
is
In the earliest of the Italian receipts, the carabe, or amber, placed amongst the materials which enter into the composition of
1
varnish.
It is possible,
which
is
more
fusible.
48
GUM ANIMEE
GUM COPAL.
exception of lac, which,
With the
wax,
is
to the air.
Of
resinous substances,
we
find a great
I
number
shall, there-
my
for the
making
of varnish.
GUM AX1MEE.
Under
this
name we
find resins
which do not
The
true
gum animee
clearness
it
In
is
not dissolve in
oil
much
it is
in place
of copal.
the solution
muddy
it
will
become
clear in
mained
in
a state of suspension.
GUM OPAL.
(
This
resins.
is
GUM
COPAL.
49
the
is
Be-
sides these
two
sorts,
we
find, in
much lower
de-
gree of heat. 1
cover
to dis-
them by
and superior
whiteness.
But the
becomes evident
a preliminary operation,
it
from
Formerly
this crust
was scraped
removing
strong lye
fectly,
with a knife
the present
for
mode
in
of
it is
;
to steep the
gum
two days
it
in dust.
1
During
Reaumur, who has made many experiments in the manufacwho has succeeded in dissolving copal in and in oil of spike, has remarked that in the copal of
all
commerce
rations,
To
ascertain at
he
tried
a knife, to ascertain
;
last,
their capability of resisting a change of colour some parts melted more or less readily, other pairts fried like gum; he rejected the and only used the fusible portions.
50
which are always few
lac.
in proportion to the mass, be-
come more
soft,
We therefore
by
itself,
must be
to be used separately
easily melted
first,
would dissolve
the varnish.
Copal
is,
in general,
less
it
yet
is
LAC.
is
gum
a resinous substance, produced by an insect but that had long been considered a winged ant,
among
coccus lacca.
The females of
small branches of
a resinous substance
used
in
MASTIC
AND Alt AC H.
like
51
MASTIC.
This resin
distils
is
from a species of
lentil tree,
of
which there
pelago,
abundance
and particularly
in Scio.
This
gum
is
is
col;
is
transparent,
ous,
and of a
odor-
and softens so
far in the
mouth
that
it
can be
may be drawn
name
into ribbon
in
the Levant
all
and hence
derived.
Nearly
of
it
Mastic
will dissolve at
cloudy,
it is
imperfectly dissolved
but in
oils, it will
dissolve completely.
The
forms the
common
picture varnish.
SANDARACH.
This gum, in colour, and somewhat
1
in its form,
Vide the
article "
On
D 2
;">2
resembles mastic
points
:
much from
it
in other
It is very brittle,
and dissolves
not in
oil
of turpentine.
Reaumur
assures us that
he succeeded
having steeped
in spirit of wine.
;
ceeded in doing so
I
the essential
oils at
Sandarach
;
will
required
the so-
one
sort,
all
oils.
The
known
until the
experiments of
M.
to these
oleine,
and
stearine. or
LINSEED
margarine.
naturally,
OIL.
">>
oxides.
With
oils
form soap
and
far as to
form a paste or
more or
oil.
less active,
the
Some
tendency,
will, in
driest
resinous substances.
The linseed,
used
not
now
in use.
it is
possible to exoil,
said
hard varnish.
LINSEED
This
oil
OIL.
has the
fullest
oils in
colour
is
does not
54
arise
NUT OIL
POPPY OIL.
fire
to
is
oil
from
This colour,
from the
pellicle
grains,
ter soluble in
Linseed
oil,
Linseed
oil
is
extensively
employed
cause
its
it is
in the
of a
more drying
NUT
OIL.
oil
When
linseed.
has very
little
colour,
oil
less tinge
than
of
Some give it a
;
much
lead.
besides,
dark as linseed
oil
OLIVETTE OR POPPY
This
is
As
is
much
culoil
tivated in Flanders,
we may suppose
that this
Low
many
places called
the
olivette.
TO PREPARE DRYING
OIL.
55
Although these oils have a natural tendency to dry, is not sufficiently strong to overcome
it
in various
degrees
black,
;for
instance, the
lakes,
bone or ivory
But
derived,
us, that
there
is
a drying power in
some metallic
tion of
oils,
oxides,
which
in
TO PREPARE DRYING
OIL.
From
and thus to
many
oil.
Some recommend
ganese, &c.
a
all
But, in
is
The oxide of lead having the greatest power over would be the oils, to recommend other substances
superfluous.
56
The
and litharge
is
then
to be placed on a slow
and frequently
stirred
is
with a spatula
a considerable quantity of
ebullition
is
scum
soon formed
as to
and the
so great at times,
make
it
prevent the
oil
running over.
disappeared,
;
it is
a sign
a proper state
it is
then allowed
to stand still;
combined
precipitates,
and
in
which
This preparation
is
is
may
fire
;
becomes
clear
when allowed
to rest, but
is
never
colourless.
By operating at a lower
oil,
temperature, in
and supplying
drying
is
its loss
by evapo-
an
oil
less
loured,
by exposure
to the light.
drying
oil
nearly colourless
may be
obtained
TO PREPARE DRYING
by combining linseed, or nut
triturating
this will
oil
OIL.
57
them together
for a considerable
time
becomes
but
if
may be
goes off
filtered
through blotting-paper
little
it is
then
colour,
which soon
when exposed
some
to the light.
By
letting fall
it
may be completed
in
a few hours.
combina-
two
distinct substances
first is
is
oxide
it
contains
the other
changed, as
if
by the
fully in
alkalies.
This matter
will
be noticed more
The chemical
of lead
is
may be combined by
;
the
oil
then assumes a gray colour, arising from the solution of the lead
;
this
which
the top,
it
is
because
Where
and
d 5
58
ESSENTIAL OILS
OH. OF
TURPENTINE.
may
in
a few
days this
will
produce an
As
become
fat in
a short time,
it is
ESSENTIAL
This class of
the solid
oils
;
OILS.
oils
caustic, odorous,
and
near ap-
This
spirit is
much used
in oil painting,
It is prepared,
and
in
by
distil-
trees.
When
:
is
without colour
when
it
has an amber
tint,
it
may be rendered
by merely mix-
colourless, without
a new
distillation,
ing with
it
little
some time
the
and when
be as clear as water.
To hasten
the separation
OIL OF SPIKE
of the lime
ROSEMARY OIL
by
NAPHTHA. 59
mixture
is easily clone,
filtering the
This
oil
is
drawn, by
distillation,
is
from a large
in
very
common
the
commerce.
This
it
oil
is
adulterated with
of
turpentine, and
sort is
is
made by
distilling
Reaumur has
This
oil
suc-
it.
has more
body than
that
oil
of turpentine,
and from
this I infer
ROSEMARY
It is
OIL.
oil is
prepared as the
last-
mentioned
spike
oil,
body as the
and
is
it
make
varnish,
and
on copal.
NAPHTHA,
Called also volatile
is
oil
collected
among
places.
simiis
60
NAPHTHA.
made
in
naphtha,
;
When
less
it
may
the varnishes.
Armenini, in chapter
ix.
and describes
one,
composed of naphtha
(oglio di sasso)
and of
and
in this
we
find
powers of solution.
is
equally
employed
1
in
Armenini.
2
the sulphuric acid of commerce with oil of naphtha, and then allowing this combination to remain in contact for several days in a
flask well closed
from the
air,
ITALIAN VARNISH.
61
SECTION
II.
ITALIAN VARNISH.
I
oil
prepared
in
Italy
It is prepared
The mix-
ture
must be frequently
The combination
is
com-
This
it
is
on a
cool-
if it fixes in
done
if
not,
This operation gives a black sediment, or precipitate, which appears to be a combination of sulphuric acid and the
odorous principle of the
oil.
The
clear liquor
is
then drawn
on",
it is united is removed from it by saturating the liquid with a solution of caustic potass or quick lime will do equally well. Annates de Chemie. etde Physique, 1817,
;
tome
1
vi.
p. 308.
oil
Nut
oil
of
linseed.
62
then
it is
ITALIAN VARNISH.
clear that the process has
oil
soon
the
and
it.
When
is
the
wax is
entirely
to be thrown on the
it
In using this
oil,
added to
it,
and
well
soft
This
mixture forms a
It is therefore proper
it is
for glazing
necessary to prevent
it
would do
like soap,
and
in fact
not
mon
and
alkalies.
it
It would, therefore,
be better to prepare
;
in
boiling water, as
for
it is
fire
shall
As
the
68
of the materials
is
completed, the
is
found
taste.
To
this liquid
the
name
same
we use
oil clarified in
the sun.
much importance
should
it
pure
for,
and would
TO
this operation
requisite to
The
proportion of spirits
more above
its surface.
The
heat
:
solution
is
muddy, but
it
a short time
as the impurity
falls
may be
accelerated
freed from
all
imputo be
wax
is
f)4-
added to
is
then to be fused in
;
when thoroughly
water, where
spatulas,
to be
touch
it,
so
clammy that
it
would be
diffi-
cult to
remove
During
from
may be handled
is
without the
danger of
its
The composition
them from
is
then formed
period by keeping
The mastic
sandarach
;
of
commerce
but
it is
the water,
still
it
and
this combination, in
When
mixture
is
to be
washed
until the
To make
tion of
it is
oil,
drying
when
united
TO
its
65
fitness
;
is
knife
if
and
if it is
found too
oil.
soft,
oil,
pellicle is
which reason
it would be
it
than
oil
may
also be
combined thus
made
;
with
of turpentine
oil,
clarified in the
ex-
stir
for
some
purities
occasion to dissolve
in alcohol
it
could be melted
We
all
may
also,
Allowing
it
to rest until
drawing
carefully,
66
ENGLISH VARNISH
ENGLISH VARNISH.
When
mastic varnish
is
oil
in solution, the
mixture soon
;
jelly
which
is
as
greater
quantity
of
and a stronger
place
on the palette
its place.
like
of this mixture
But instead
of using
brown drying
is
oil, it
would
prepared without
be
of a
body
be
carried on in painting,
much
by many of the
67
thus de-
tioned
vessel
;
Put some
then add a
new earthen
the resin
its
fornis,
resembles very
fracture
is
much
;
brighter
it
on lighted
digest until
reduced to one
it
third part
shall
high enough to
communicate with
instantly,
as
it
and
it.
it
would be extremely
to
extinguish
ANOTHER METHOD.
Place around a brazier three or four granite or other
stones capable of resisting the action of
fire
;
upon
ves-
these supports
sel
is
to be placed a
common earthen
Romans
Pone oleum lini in ollam novam parvulam, et adde gummi quod vocatur fornis, minutissime tritum, quod habet speciem lucidissimi thuris; sed cum frangitur, fulgorem clariorem reddit; quod
1
cum
est
sic,
ut
non
bulliat,
donee
consumatur
et
nimis et
difficile
extinguitur
fit
accendatur.
Hoc
glutine
om-
ct
68
glassa
lute
them together so
may
is
their joints
the resin
to
be
stirred
with a
carefully ascertained.
oil is
to be prepared in
moment when
which
it is
completely
fluid.
run
Stir
it
well, to assist
the incorporation,
fire
;
and
try
let it
it
occasionally,
by dropping some of
it
on a
it
piece of
wood
has
a proper consistency.
to be used
one part
resin,
oil
when
it
suffi1
and
set
to cool.
ignem sustinere
et super
ita
supra dictum
glassa vocatur
in
fundo modicum
foramen.
Et circum lineas ei pastam ita ut nihil spiraminis inter Habebis etiam ferrum gracile manubrio impounde commovebis ipsum gummi et cum quo sentire possis Habebis quoque ollam tertiam super ut omnino liquidum fiat. carbones positam, in qua sit oleum calidum et cum gummi penitns
situm,
;
liquidum
fuerit, ita ut
69
We
We
do
in-
but every
known
in the
and
it is
brought.
successfully
And
it is
must
it it
would not be
with an addi-
without diluting
we must
:
when
the whole
is
to
be united,
it
will
require
I
oil
to
am
oil
<:i
oleum calidum,
et
et fcrro
commove,
et insimul
liat,
lini
et
Cumque ad
libitum
tuum
removens
et discoperiens refrige-
rari sine.
70
oil.
This
is
the
if
we ought
to take advantage,
When
the operation
is
trass, all
may be
is
ob-
way it
also the
most
likely to succeed.
For
neck,
1
used; this
is
and one
approaching the
fully,
fire,
too suddenly.
the tempe-
was long, the water which is evolved with the other vapours would condense, and, flowing back again
If the
neck of the
retort
dis-
agreeable,
if
not alarming.
12
71
greater volume
by degrees
;
this
becomes
abundant, and
oil
fills all
the vase
when about
if
and
it
would evaporate
foam
moved a
at
little
from the
fire.
This
is
the
:
moment
the
oil,
changing to a state of vapour, has acquired the proper degree of heat to effect that object, and, by
giving gently a rotatory motion to the mass, the
complete.
When
small lumps will appear, which could not be dissolved because of their size
:
but this
may be done by
the operation,
to
sieve,
through a silken
or
still
better to grind
it
When
the
oil
no longer
it
give out
oil
it
must
72
well with
oil
before
it
is
and con-
will
be less coloured.
placed in a sand bath, and
up the
cavity,
and the
but
in this case
fire
be
in a silver
vessel,
was merely
therefore, better to
is
employ a mattrass
;
in
but,
more
would
advise that no
of copal
it
but should
be
in-
must be had
1
am
when reduced
it
in
we should always succeed in disto an impalpable powder, if we small portions upon the boiling oil,
and then waiting patiently until that was dissolved ere we added another part of the powder but varnish made in this way would
;
73
followed
;
which, as
have stated,
is
is
making
varnish
substi-
two vases
edges.
and
its
will
for,
were
With
may
pounds of copal
be fused at a time.
Some
if
used, the
and
if
But
perly constructed,
to dissolve a
pound of copal
As
abundantly
it
must then be
carefully
74
surface.
The
process
is
and when,
in drops,
and
falls off
Upon
this fused
well at the
same
time to insure
of the boiling
its
union
oil
would lose
its fluidity if
the
oil
was
poured upon
imperfect.
it
When
spatula
is
this incorporation
drawn
out,
union
complete
if
cloudy,
fire
is
become transparent
When
fluidity
which
is
desirable
fire,
having
7^
allowed
volatile
is
is
to cool a
The manufacturers
their copal in the
open
exposed by catching
is
sufficient to
which issues
in
a large quantity
Whenever
a wet
but a coverlid,
still
by
its
handle,
it
may
be applied
in-
if
the
all
com-
fire
communicated
to
him
also destroyed
is
by
it.
This apparatus
tunnel, about
into the
composed of a
tin or
is
copper
inserted
is
two
feet in length,
which
e 2
closed with
iron wire
the
the
is
flask
upon
this
inclined plane
tabular
opening,
it
in the
open
air,
The fumes
by
when
rectified,
may become
very useful.
had
in
in view,
in preventing accidents
from
fire,
and and
The
will
safety
hoped,
encourage
thod now
generally
in
use,
will
may be
still
further
recommended
very slowly
Oil.
COPAL VARNISH.
first
time
is
fire.
Al-
too great an
it
elevation of the
to
explode
and
would be proper to
it
may
to
will, or,
which
is
not
difficult,
its
communication
The
fuses,
This object
would be obtained by means of an ingenious apparatus which Tingry has proposed for a different
is
to be
found
in
who
states that he
is
had
it
from a German. 1
cylindrical
This
apparatus
composed of a
furnace,
arranged around
its
At the bottom
in
of this
furnace
is
which
communemente
'
Cinese,'
lias
dal
This work
been
translated into the French language, and the translation has the
E 3
78
this is
on.
is
to be
may not
touch
wire
;
it
in
any point
it
is
secured by hooks of
this
bag
is
then
filled
and
which
is
firmly fixed
by means of iron
wire,
and
it is
The
aperture
will
be exactly in the
it
is
fixed
the
furnace
is
The
it
caloric
melts,
down
with which
is
up with a spatula of
Whilst the copal
in-
if
This
may be done by a
in it of
an opening
79
is left
This
As
oil, if
the latter
to have
it
quite ready
for the
moment
nace
is
The proportion of
Four or
one of
full
and
If
a more
required, only
;
two parts of
added
so thick that
it
cannot be used
but, before
oil
it
cools,
may be
added,
pictures of
oil is
this should be
turpentine, sufficient
e 4
80
Linseed
oil,
PICTURE VARNISH.
even when very
it
must be
purified
this
may be done by
of the
exposing
sun.
1
it
for
some weeks
to the rays
Drying
oil is
employed
oil
in the varnish
which
;
is
of turpentine
state,
and as
must be
in
a boiling
highly coloured.
it
first
over a slow
and then
when
it
may be
darker.
PICTURE VARNISH.
The
usual
method
is
by
it
dissolving mastic in
of turpentine, adding to
:
this prebril-
paration has a
body,
is
viscous,
and gives
The blanching
it
of the oil may be much accelerated by exposing sun in shallow saucers of porcelain five or produce as much effect upon the shallow liquid with
;
PICTURE VARNISH.
liancy to tbe varnish.
it
81
But
its
is
:
containing an excess of
oil
it
of mastic.
The
following
proportions
may be
used
of turpentine.
for this
the essential
colour
is
or
it
may be
filtered
through
it.
The
may be
accelerated
by grinding
but
it
in fact
it
melts as soon as
heat
is
a colourless varnish.
to
add the spirit of turpentine by small portions, at the same time stirring the mixture with a spatula until they are completely
incorporated.
82
oil
PICTURE VARNISH.
of turpentine will give
it
quired.
Its superior
effects
is
of
frequent washing
fectly dry,
per-
fine
couch of mastic
may be
laid
on
it,
But many
it
artists
has a
colourless as mastic
yet this
is
for I
have succeeded
in
is
tures.
The method
is
some
fresh material, as
Reaumur used
affinity for copal
oil is
oil
of spike, which
oil
than
of turpentine
more
solid,
manner
fine copal,
it
in
a mortar of porce-
PICTURE VARNISH.
lain,
83
of lavender, the
with a
I
little
of the volatile
;
oil
purest
could obtain
the copal
jelly
it
;
is
soon softened,
then allow
;
it
occasionally
on
which
have also
in
some degree
for
when
the solution
oil
much
be added,
when
must be drawn
I
and
has
produced an
much more
if
rapidly in dissolving
little spirit
of wine be
added.
The
latter oil is
but
odour
is
though, as
smell
may
be prevented.
e 6
CHAPTER
III.
Of
have just
appears to
me
it
gives greater
colour
and
though
it
enough to
it
dries
It is not
it
may
it
In the following
chapter
shall
attended to when
used in glazing.
The
selec-
that this
is
latter years
is
His
varnish
effect
is
capable of
producing.
85
may be
applied
to,
more or
less
When
it
is
will
not
adhere to
stiff
it
;
this
it
brush
it
will give
dering
fine,
Should
it
it
is
applied.
In such
can be
skilful painters
;
have
some are
obliged,
were
who have a
similar slowness of
commence;
ment
for
more
liable to
When
the work
is
86
OX GLAZING.
it
is
necessary to return
must not
and but
It
is
first
painting,
in
to be brought forward
and,
more
com-
it
1
will
distemper grounds.
SECTION
I.
ON GLAZING.
The
is
effect
in glazing
such, that
like it
tints,
is
transparent objects ;
ing owes
as
it
to this
power that
oil
paint-
its
is
parency of nature, so
we should be
careful so to use
It is
is
See Chapter V.
On
cloths.
ON GLAZING.
87
effect
evident
mat or
dull colours,
in giving
a more natural
Glazing
it
is
gives
to
of
coloured
varnish.
To
obtain
this
essential
it
object,
the
varnish
place
and
By
may be used
in
and produce
it,
and is less
be scoured
not always
This, however,
The
88
possible
ON GLAZING.
with
some
glazings
which
affect
the
used until
it is
nearly completed.
With
on
solid
in
colour,
the works
become too
like
off
them
when
copal var-
work
is
particularly liable to
it is
In such a case
best to wash
warm
wards some drops of alcohol in the glazing, or moistening the brush in that liquid
glazing
lie
:
this will
It
make
the
on quite smoothly.
would answer
drying
oil
The
to give a
For
this reason
it is,
It should
is
be borne
not necessarily
ON GLAZING
the result of glazing
80
fact.
In glazing,
it is
of
we should take
into account
and varnishes.
It
is,
as
we
may
must be taken as
will
1
For
this purpose,
when
which even a
slight
portion of
oil
used.
For
instance, if
we wish
to glaze a grey
shadow upon
white,
it
is
tint,
pro-
duced by the varnish used in their glazings having turned yellow. Such changes are not observable in the pictures of Fra Bartolomeo
a fact which proves that the latter employed a better varnish.
Neither
is
:
Rubens
ter
possibly he
his
:
shadow
tints with a
90
produces
SECTION
II.
have
same
effect
on wax, and
;
is
destroyed by exposure to
a strong light
badly ventilated.
:
ration
become rancid
that
is,
more
The
whole class of
oily
substances
is liable
to this change.
Even the
the firmest of
all,)
a greater or
less
91
Even
amber,
a brownish tone. 1
to,
the
oils
purpose show
we put a couch
of
or mastic on a sur-
and
confined,
we
shall
be
combined influence of
much the
yellowish
tendency of the
varnish, which is
its original
oils
brightness
It would
way of preserving
lightly
them
is
with copal at
1 There is a very striking example of the alteration which oily substances produce upon the transparent, varnished, or oiled paper, In the course of a few years this paper acquires used in tracing.
In such a case it would be examine whether some combustion ol the paper has not taken place from the action upon it of the oily substance.
92
ON CRACKS, &C.
them a couch
of mastic.
and then
it
may
be removed.
will
will
The
copal varnish,
the cleaning.
SECTION
III.
dry.
applied to the
when
this
is
painted
is
upon
absorbed
quickly
it
dry so
oil it
much more
In such a
to
atmosphere be
warm enough
ON CRACKS, &C.
be rended.
J
93
To
to
must be taken
colours
raw
if
drying nature.
Many
artists
make
cannot be denied
:
favourable to colouring
it
was
first lays
much
earlier paint-
who
pursued an extreme
but
if,
like
P. Vero-
See in Chapter VI. " On the Restoration of Pictures," the refor these cracks,
medy
3
when
CHAPTER
IV.
CHROMATE OF LEAD.
This colour
state
:
is
its
natural
that of commerce
natural state
11
an
artificial
production.
Si-
In
its
it
In 1797
M.
Vauquelin analysed
and found
it
and an
acidifiable metal, to
In
fact,
;
thehromate of lead
of silver, purple
;
is
yellow
green,
will resist
changing.
YELLOWS.
95
Red
lin's
lead,
Si-
beria,
it is
not
common
so that the
have been of
much advantage
to painters,
if it
had
iron.
It has also
been found
chiefly in
Mary-
land
and
it is
exported.
The chromate
of lead
is
then decomposing
For
potass
to be
substance
afterwards to
be washed in
warm
or nitrate of lead
is
required to
in
state, or that of
produces the
subchromate
The
nitrate of lead
finest yellows.
96
MINERAL YELLOW.
is
made
in cold
warm
is
contains.
In a few years
like yellow
it
brightness goes
off,
and it becomes
ochre
much
longer period.
and chro-
mate of
heat,
a considerable degree of
vitrified, will
be un-
changeable.
It is
M. Chaptal
is
Four parts
undisturbed until
begins to whiten
it
must then
its
grow-
salt
added
and
if it
is
not sum-
MINERAL YELLOW.
clent of this ingredient, water
97
to
must be added
In about
befree
come
from
lumps
but
it
must
still
be stirred occa:
sionally, to
it is
then
of the soda,
salt,
which
will
hen
dry,
it is
this
powder
then returned
thus fused,
cool, it
it is
and when
forms
first
decomposed by marine
new combi-
98
MINERAL YELLOW.
and when dry was mixed with
;
carefully washed,
it
was
in
the heat
the crucibles
same time.
In the following process bismuth and antimony
are used, and should have the effect of rendering
the
colour more
permanent.
They
are ground
may be
exactly ascer-
3 parts
.
Sulphuret of antimony,
Nitrate of potass,
24
64
...
it
This mixture
heated crucible
;
is
to be
when
dissolved,
must be thrown
to remain, and
where
it is
must be well
It
smell
it
is
then to be
is
a fine powder,
of an
An
is
then
; ;
NAPLES YELLOW.
99
The
fusion
is
:
English process
able to sustain
and
also, that
kept
is
exposed to the
known
it
is
not so perin
manent as Naples
it
yellow,
time
may be used
ochres.
NAPLES YELLOW.
The discovery
of this colour belongs to
high
back as the
it
earlier
working
of Gial-
of enamel.
lolino
;
The
Italians give
the
it
name
so
:
Paul Lo-
mazzo
e di
Giattolino di
Furnace di Fiandra
Allamagna
artists
it
but
it
is
probable that
when the
was
French
tained
began to use
direct
made
f 2
100 There
Sciences,
is
NAPLES YELLOW.
in
the
of
a.
d.
1772,
an account of a process
:
it
as follows
Proportions
to be used.
Ceruse
Sulphuret of antimony
Calcined alum
Sal
12
oz.
....
2
|
1
ammoniac
all
be reduced to powder,
pan
it
is is
where
at a low heat,
increasing
it
by degrees,
it will
require
properly prepared.
"
The product
this frit
is
then
it
from whatever
its
may
contain
it
is
tint
M. Fougeroux has
translated
into
the
word
NAPLES YELLOW.
01
is,
also mistaken in
naming
it
of
faience
for
mention
is
also
made
in
it
of the materials
According to
that author,
thus prepared
Antimony
Lead
lb.
H
salt
.
.
Common
1
1
oz.
Tartrate of potass
Passeri observes, that by changing the proportions, the yellow obtained will
be of a more or
less
golden hue.
he
gives, there is
would be to render
it
tint that
the
combination of
the
* Allume di
fecia.
f3
02
XAPLES YELLOW.
it is of
great
they
in the grinding,
;
the
then to be
laid in
a vessel of unjrlazed
to prevent the
in
enamel painting,
;
is
very
it
;
is
composed of the
exposure to
the
fire,
M. Guimet,
has sent
to
whom
much
ultramarine,
me
and he
is
part.
Pure minium,
2 parts.
upon a marble
flag, to
the con-
IODIDE OF LEAD
sistence of a paste
THE OCHRES.
103
this paste is
then to be dried,
reduced to a powder,
in such a
manner
the oxygen of the lead and antimony. Guimet thinks, that the deutoxide of anti-
M. mony and
action in this case that the potass has no other the antimony, than that of completely oxidising of the process is indispensable to the success
which
operation.
IODIDE OF LEAD.
This colour, which
is
not yet
much known
in
commerce,
lead.
is
It is
but
pretension to so essential a
It
is
of acetate of potass
:
more
brilliant
yellow colour.
THE OCHRES.
These substances are " hydrates of
F 4
11
iron,
which
104
THE OCHRES.
that they
signifies,
are
is a portion of argil, the substance feels greasy to the touch, and has
:
be the colour
when
there
The
brown
the
when
ru," which
11
incorrectly spelled
rue,
takes
its
word ru (ruisseau), a rivulet or brook, probably because that this ochre was found deposited in places
formed
in
Exposed to the
brown
of iron.
it
contains
some
remains of vegetable
matter.
substances,
or bituminous
Terra
di
Sienna
is
it
pure state.
THK OCHRES.
Ochres may be prepared
artificially,
105
by moistening
tating
it
of iron, or persulfate of potass, of nitrate, of acetate brown ochres are obtained. of iron, the most brilliant a low oxidation, the preIf the sulphate of iron is of
cipitate
is
olive-coloured, but
it
at the surface
oxygen.
pitates,
it
To extend
the preci-
air,
by
stir-
ring
be
thing may up for a sufficient time. The same exposing it to obtained in winter quite easily, by
it
:
shallow pans the water the action of frost in wide ice, leaves a small passing into the state of
and
is
sufficient
to give
it
an even
yellow tone.
When
sary to
it will
be neces-
mix alum,
;
of iron
the solution
1
then to be precipitated by
lime water.
There
they require no other of so very fine a quality, that that of being washed ; therefore
preparation than
quantity of lime, for water But this will require a very large part of it. only dissolves one five- hundredth
F 5
1^6
ORPIMENT.
scarcely worth while to manufacture
1
it is
them
arti-
ficially.
The permanency
at Pompeii,
of these colours
is
proved by the
analysed by M. Count Chaptal, he discovered yellow ochre purified by washing, which had preserved its original brightness.
and
ORPIMENT.
in ancient times the ; Latins called it auripigmentum (gold colour), whence,
by corruption,
its
present
name
is
derived.
It is
by
artificial
means.
combination.
artificial
combination. I have what we commonly observe of the action for we see, on a dry morning, after a rainy day, that the iron tires of carriagewheels are covered with rust of a clear and bright yellow colour in a few days this rust becomes a yellowish brown, and, after some time, it changes to a
as a natural ochre, which contains, in addition to those enumerated, lime, silex, and alumine, in
manency
ochre, composed merely of and water, can have the same per-
founded
my opinion upon
SULPHURKT OF CADMIUM.
107
very brilliant yellow ; the product will be a clear and the colour will should the arsenic predominate,
but
11
be orange
; -
and
it is
or
11
realgar.
in use from the Both these species have been it is easy to perceive and painting of times earliest
;
lead,
into which lead enters, nor with any of those colours and chromate of muriate minium, such as massicot,
lead,
The sulphur
metal than for lead, lets it ing less affinity with this sulphuret of lead of a dark greyish go, and forms a alone, or But orpiment may be employed
colour.
1
that do not act upon with ochres, and other colours ultramarine. I have nodoubt them, as terre verte and
which we see in some but that the brilliant yellows, of orpiment. ancient pictures, are preparations
Red
orpiment, as
we
shall
show
in its place,
is
SULPHURET OF CADMIUM.
colour say that Chemists who have prepared this however, aware not, am I change. does not
i
it
It is
the some time the orpiment takes up cause for the This would be an additional composed of the two colours.
F 6
108
GAMBOGK.
it
whether
lead.
I
has been used in combination with white fear that in such a case the sulphur would
cadmium, to unite with the lead. If that should not happen, this would be a most useful discovery.
It is to be regretted that at present cad-
quit the
mium
is
scarce in France
we
article.
the sulphuret of
is
cadmium
is
Germany
and it
to be
had here
(in Paris)
VEGETABLE YELLOWS.
DROP GUM, OR GAMBOGE.
This
called
is
distils
from a tree
is
cambogium or
which
a native
of India,
Ganges.
a
This
gum
and makes
most
brilliant yellow
wash.
painting,-as it resists for a long time the action of strong light,-provided the resinous part could be separated from the other parts. Alcohol will dissolve the resin, but will attack the colour also yet, probably, if the gamboge was
;
useful in oil
it
INDIAN YELLOW
for
109
INDIAN YELLOW. For many years past the English traders have
furnished us (in
lake,
France) with a
brilliant
yellow
which
is
more
I
number
of this class.
naturalist,
who
manufactured
in Calcutta
by an
matter is extracted from a tree, or large shrub, called memecylon tindorium, the leaves of which are employed by the natives in their yellow dyes.
smell
colour,
like
it is
From
is
employed
memecylon.
and joined to a
basis,
which acts as
Drop lake
is
its
110
must be precipitated
or this acetate,
when
preci-
wood.
purpose
that
have yet
been
is
but
it is
more
lasting
The
is
permanent
it
in those draperies
where
its
of
much importance.
MASSICOT (PROTOXIDE OF LEAD).
in the shops,
under
name
calcined,
light,
is
yellow,
or gold
coloured.
Genuine massicot
;
of lead (protoxide)
yellow.
its
colour
a dull orange
is
calcined
a reverberatory furnace
MINIUM.
mixture of massicot and lead
Ill
much
is
lighter remains
off,
suspended
to
settle
in the
;
water
it
drawn
it
and
left
is
the deposition
dried,
which
is
then forms
collected
and
is
and
this
in
But
it
not to be had
it
red-lead manufacturers.
may
be employed with
oils
;
it
produces
ground.
when very
finely
:
may
also be
;
employed as a colour
it is
its tint is
not
brilliant
but as
lead, it
may be
substituted for
in
mixing with
and
MINIUM.
sicot into
minium.
On
is
pre"
it
becomes
first
on
its
when
entering.
it
The
massicot cools
very slowly
and, as
112
air,
it
RED OEPIMENT
CARMINE.
slowness of
its
grows
cooling.
If,
instead
of massicot,
we
calcine
is
ceruse,
obtained,
than any of
of an
orpi-
permanent than
where
it
ment
used,
has been
it
ground.
any lead
THE REDS
This rich crimson
Minium was known
It
oil
CARMINE.
is
cerusa usta.
times of
to the ancients under the appellation of was amongst the pigments employed in the early
painting; but they soon found that the colour faded. It has come under my observation to mark the action of the light
directly
picture,
upon
this colour.
At one of
some drapery
in
minium, and
in a
much
CARMINE.
brilliant portion of
113
this colour,
but
all
:
these
First
pound of
cochineal, in powder,
is
boiled
matter four or
five
drachms of subcarbonate of
;
a quarter of an hour,
in
eight
into
or ten
it,
drachms of alum
it is
and
the
from the
fire,
;
and allowed
is
to
the liquid
at
drawn
off,
the carmine
is
for
and Caventou have made a course of experiments upon cochineal, by which they have been enabled to separate
Pelletier
MM.
To
et
name
of carmine.
Annals de Chimie
de Physic, torn.
p. 250.
114
CARMINE.
some
my
eyes,
it
it
not be
difficult to
a quarter
which caused a
the
fire,
was drawn
it,
in
which
dis-
little
guise
true colour)
broom
of
filter
filter
and
which
It appeared to
me
that
is,
salt of sorrel.
CARMINE.
nitro-muriate of
tin,
115
think
it
contained alum
salts
two
produced a whitish
which would
little
it.
carmine
A pound
is
;
of
ground cochineal
is
to this
subcarbonate of potass
the boiling, which
little is
fresh water,
and
after
to
be taken
the
fire,
in
wash or
liquid to be
of
alum
in
tion,
and
it is
becomes of a deep
red,
this is
what manufacturers
;
in
about a quarter
is
completely deposited at
is
as clear
it
matter and a
little
alum
size,
it is
a vessel of equal
which
set
on the
fire,
16
CARMINE
sieve
still
until the
appearance of ebullition
is
at this
moment
the
carmine
and a coagulum
white of egg
fire,
;
the vessel
is
stirred for
with a brush
and
in
found deposited
it
then decanted,
filter
thrown upon a
should
;
of fine
the
isinglass
be
it
cut
small,
and
swells,
and
is easily
reduced to a
glass mortar
jelly
;
by trituration
in a porcelain or
is
some
boiling water
then thrown
upon
it,
and
it
melts instantly.
receipt,
is
The above
which
is
the best
am
;
acquainted with,
water
is
prescribed
Carmine
is
seldom used in
oil
painting, except
It is a brilliant co-
but
it
CINNABAK.
strong light
it is
117
it is
adulis
by dissolving
it
in
a solution of am;
this
is fit
for use
when the
cochineal
lake.
off.
CINNABAR.
This
is
word vermiglio
(coccus ilicis),
dye
Cinnabar
is
used in painting
is
an
artificial
is
adding to
it
name
of
this sub-
stance
118
appropriate vessels,
CINNABAR.
when a
crystallized
mass
is
thus
by trituration
it
becomes of a
will
scarlet colour.
not be sufficient to
;
various
methods
known.
Some manufacturers
for
afterwards boil
it
some time
it
others treat
it
but
appears to be prepared
in
sand bath,
one part
this
compound
digestion
first
and,
when the
is
developes
itself.
CINNABAR.
It is
119
potass
may
be required
of this liquid
may
require.
By
this
may be
converted
fire is
take the
it
carmine
tint.
If
it
be requisite to have
of a
mercurial vapours
for
air
1
;
there also
mixture
is
in the
same way
added.
the colour has attained the shade
is
When
tube
full
re-
of water, and
is
washed
For
this
d' Arcet
ought
to
be employed.
was
at first used in
metal gilders,
to secure the
workmen From
]20
PERIODIDE OF MERCURY.
is
sulphuret of potass
carried
off.
The advantages
it
produces
and of
From the
in tint
striking resemblance
and fineness of
grain, I
am
of opinion that
have described.
PERIODIDE OF MERCURY.
Iodine, which
lour, is
it
1
is
The name
iodine
is
derived
violet colour
which
this substance
when
the
it is
At
tilizes
common temperature
and has
it
vola-
Comtakes
I
vermillion.
made
and
I
some years
ago,
;
it
became yellow
but
PERIODIDE OF MERCURY.
12L
have been assured that other essays made since have proved more satisfactory
:
me had
which
trifling
is
insufficient to
prove
its
is
lasting qualities.
ment
sold
and
is
The
follow-
is
me
for preparing
Iodine
and
zinc
(forming iodide of
;
zinc)
are
first
to be combined
for this
purpose
into water
when
it
it is
melted, or by levigating
in a
mortar until
and can be
easily divided.
The powdered
zinc
into
by help of a moderate
com-
is
then
filtered.
is
then dissolved in
distilled
water
formed
this deposit is
washed
first
122
river water.
THE LAKES.
The working
of this colour
is
of the
made the
first
essay,
and which
suffi-
may
THE LAKES.
This name was originally given to designate
merely the
purplish
and
when employed
tion
;
alone
but in
its
applied
by combining a colouring
is
commonly
The term
It is
lakes used in
Europe
came from
lac so
abundant
which yields a
many
respects
it
takes pre-
cedence of cochineal.
It
was
first
it
is
called, in
commerce,
or lac dye. x
The people
the
article on
gum
lac.
THE LAKES.
of India collect this resin, bruise
it
it,
12o
and then
boil
in
colouring matter
the solution
is
then precipitated
is
This
is
the
way
in
which
it is
imported.
The
more
much
bril-
but
it
appears to be
the superior
oil,
and which
;
in Italy, of
which we have
Neri,
who pub-
madder.
The
lake of Brazil
I
wood
is
is
am
Entombing
wood
g
for
we cannot suppose
124
THE LAKES.
bril-
where the harmony of the picture would not have been injured. Indeed, the brilliancy of
that work would have been increased,
if
the colour
The
number
kermes,
paration of lake,
very
common
in
was used
in dyeing purple
and crimson
and the
colours
still
retain
much
kermes
lake
hence
it
may be
substance.
have
The second
matter of kermes
in solution
in
weak
THE LAKES.
125
brilliant
purple
lake.
The use of
1
The following is Neri's process Take some weak brandy; the first portion which comes over
:
in
the distillation
is
to be preferred
;
put
into
;
it
this
stir
solution
put
;
one
sifted
them up well
and
decant the
Next dissolve four ounces of alum in plain water pour this alum water into the vessel containing the tincture of kermes, and then pass it through a filter should the water, after passing
;
;
through the
filter,
it
must be passed
will
Here
of our readers
Piglia acqua vite di prima passata
libbra
;
un
una
di
tutto, poi
come sopra
vaso, che
1'
acqua
comsopra
mune
una
falla
che
stia sospesa
la
come
si
detto
riell'
attra
Lacco con
cimatura,
colorita,
si
questa Lacca
si
metta a seccare
in tutto, e
come
l'altra
Lacca
per
che
si
avera lacca
di
Chermesino
bellissima, con
poca
fatica
Neri
deW Arte
G 3
126
THE LAKES.
Mexico
in
first
thought
of nothing but exploring the gold mines, regardless of the productions that would be useful
in
pro-
solid
wealth of their
When,
therefore,
we
it
is
reasonable te suppose
madder
is
lake, which,
in 1809,
them
He
was a
lake, exactly
;
and he
from madder.
Methods of preparing
the Lakes.
this process
by
body of
THE LAKES.
matter being thrown, fixes
or less durable.
itself in a
127
manner more
To prepare
be dissolved
alum
is
is
to
then
1
to five of alum:
it
is
precipitated without
precipitate has fallen
clear liquid
an excess of
alkali
when the
some of the
and
alum water
if
the pre-
cipitation
will
perfectly formed,
no other subsidence
;
when the
drawn
off,
sediment
is
to be
to
comes
off withfilter
out smell
it
is
of
linen to drain,
soft paste,
it
and when
is
of the consistence of
more or
less strong,
it
only
now remains
to
Soda
is
G 4
128
THE LAKES.
and strain
it
through, a
filter,
to
put
it
into forms,
and dry
it
in the shade.
As
drawn
it
it
extracted
is still
make a
decoction of cochineal
making
lake, as the
This process
is
founded
affinity in
;
well
in
known
that
alum
trade.
is
the dyers
for other
in
Alumine
as
well
also serves as
a basis
for
colours
as
crimson
instance,
making yellow
the
&c, upon
is
It
be
pure
for
is sufficient
exists in the
As
for the
is
common
not used
to
lakes from
:
French
berries,
is
pure alumine
which a
alum
is
added.
BROWN
PINK.
129
Alum by
precipitate
itself will
:
vegetable decoctions
a very strong
may
to a decoction of
woad
but
it will
also precipitate
gummy
BROWN
PINK.
berries are dis-
the mixture
is
fil-
and to
it
the tincture
is
shall
it
must then be
hours
it
;
undisturbed
for
twenty-four
off,
and as
still
much
again pre-
alum; the
the
salts.
precipitate
is
off
In
tial
is
this process it
is,
points
owing to
lour of the
Avignon
berries
is
turned to brown.
By
g 5
130
MADDER LAKE.
can be obtained from yellow
wood
To
colour,
may
be given a green
alum
and
this is evident in
pictures,
where the
lake, with
foliage has
which the
Rembrandt
alte-
of this
made by
when used
;
in
is
full
and there
some advantage
and
and
if
very much.
MADDER LAKE.
This colour
is
all
also
that
it
was
this
To prepare
MADDER LAKE.
lake,
LSI
Neri
tells
satu-
rated, to boil
them
in a lye,
believe
description,
is
very
little
soluble
by mild
;
alkalies.
is,
It
must be
that
by dissolving with
tincture,
it
with an
alkali.
By
this
means
I
am
also of opinion,
them
from
it,
doned, because of
presenting greater
difficulties
It
process, which he
of washing the 1 I have reason to believe, that if the operation tinctured wool, was done with the acidulated water, the alkaline lye would eventually dissolve the colouring matter but more readily
;
G 6
132
MADDER LAKE.
been inserted
in
the Encyclopaedia.
in
extracting,
by means
washing the
separate
it
precipitate
with
boiling
water,
to
matter with
which
it is
down
should be
distilled,
but
may be
as
it
will dissolve
of
the
fawn-coloured
matter,
I
without
sensibly
it,
have tried
and
have succeeded
clearing
I
it,
in
preparing, by this
method of
;
and
still
am
persuaded that
I
may be
obtained of a
finer quality.
have the
means of preparing
mode
is
MADDER LAKE.
bility in
133
are
it
obtained.
distinct
one
is
the
The
first,
which
is
be alkaline water.
is
alkaline sub-carbonates,
:
and
soluble in
alum water
the
would be tarnished.
boiled in water strongly
it
When
the madder
is
will
coffee,
and which
nankeen
passed through a
colour
;
filter,
the water
it,
still
retains
much
by continuing to wash
last,
the
but
it
requires a
takes place.
At
this point, if
134
ployed,
it will
MADDER LAKE.
still
fawn-coloured matter.
is
dissolved,
and
Water
and changes
it
it
it
had before
from
is
of a clear yellow,
and
alkali precipitates
from
when a
solution of
fixed
upon
washing
it,
liquor
which runs
but
its
yellow colour
tint
more or
a violet
deep and
brilliant.
precipitate.
If,
when
as
much
and
MADDER LAKE.
ing,
135
warm
solution of
alum
is
will perceive
scarlet
colour,
more or
less
employed.
It is not requisite that the
warm
but
if
used
cold,
it
will
all
that
soluble of the
The washing
matter
This
is
;
will
all
the impure
alum water.
gives the
the cause
why
;
the
first filtration
if
most
brilliant
lake
and
the
nitrations
off,
are
coloured matter.
From
it
would appear
on a large
scale, fine
madder
filter
lake,
and that
it
only
required to set up a
of sufficient dimensions
madder to be
it
to separate
from the
by which
its brilliancy
would
otherwise be very
much
diminished.
diffi-
136
culty, against
MADDER LAKE.
which
it is
of importance to be proof
vided.
gummy
it
wash from
the
jelly
is
when
this mucilage
thrown upon
manner.
all this
it,
which also
wrung out
in the
same
filter will
it
Besides,
can be arranged
all
parts of the
in
washed,
but rather
broad in proportion to
its
depth
covered with a
felt,
or cotton cloth
the shape of
At
this period,
if
the
madder be diluted
in water acidulated
by muriatic
be accelerated.
MADDER LAKE.
this
137
fitted to the
Upon
this species of
diaphragm
is
to be placed
for the
washing
be less
difficult if
body to penetrate.
To keep
it
must be
fine stuff,
;
which will
this second
must be firmly
fixed
by cross pieces of
;
it
upon
this surface
that
all
water rests.
At the
let
bottom of the
drawn
off,
of the
madder
is
completed.
The water
is
top,
by which
it
is
drawn
should be in proportion
made
138
MADDER LAKE.
localities will
may
know
require.
We
is
by the height of
the diameter
the column
thus whatever
may be
madder
will
be pressed
in the tube,
would
give,
:
were the
the wash-
completed in a
quantity of water.
in this apparatus,
vat,
to extend
upward
is
it
may be
of glass, and
is
the air
ad-
The
when
diluted
with water, do
colour of
madder
they therefore
may be emin
tarnished.
By
boiling
madder
water
is
tinc-
converted
the
substance
this
prevents
MADDER LAKE.
filters
139
upon the
in
the
carna-
tions.
The process
deal of water
just
described, requires
great-
M. Robiquet has
the
Dictionnaire
et
described
another
Technologiqae,
and
de
Ckimie
fine lake
may be prepared
weight
of water,
a few hours
the process
madder
in
and
macerating
it
well for
to the action of
is
a powerful press
the
first
wash
set aside, to
afterwards
to
separate
the
which forms
time
the mass
is
then subjected a
it
may have
been,
;
this state it is
140
water,
five
MADDER LAKE.
for
which purpose
it
is
again steeped in
pounded alum
gently,
is
added;
for
this
mixture
is
heated
it
and macerated
cloth,
then put
it,
as to
it
would be and
decreasing
off being
in
strength
of tint, the
it
first
drawn
strong in proportion as
has
to be
done but
water
wash
it,
by merely decanting
until the
comes
these
operations
I
saw
endeavoured
had
Madder lake.
The process
of
141
to require
M. Robiquet appeared
In the
extracted
first
some modification.
cilaginous
liquid,
place,
the mupressure,
by great
would be
difficult to
separate from
it,
while on
then
off
so
much
I
tions
this,
that
if
water
is
precipitated,
be impure.
But
I
think an advantage,
and
should
commence
coction
upon a
fine
it
firmly for a
and
some
fine
colour no
142
MADDER LAKE,
cloth,
but this
may
founded on the
colour of the
insoluble, it only
then
re-
The great
difficulties
in
this
process, as
the
was suc-
in the first of
them much
;
of the colouring
and
in the second,
even
I could
sul-
much time
lake produced
it
appeared to
me
MADDER LAKE.
145
matter into a
:
gummy
state could
justified
be
made
useful
been
is
by expe-
rience,
no longer transis
formed into
no longer
impeded by the
filter
in
commerce as "
extra-fine,
11
root, is that
and
in
grows spontaneously,
when
fresh,
may be used
in in
and bruised
then boiled
after
carried on as
described.
The waters
to be chosen.
is
the best
and where
it
these
must be
pre-
12
144
MADDER LAKK.
madder
which
will
matter.
Upon
and
the action
of
The
violet-coloured matter
is
even
in
warm water
it
but as
it is
soluble in
is
proper to sepa-
rate
it,
this operation
lightly acidulated
by hydrochloric
visible
effect
which does
the
not produce
matter.
1
any
on
purple
The
may induce
is
owing to
madder
is
found
when the
It will dissolve
a part of
it,
an approaching scarlet, which proves that it is intended crimson lake the acid wash must not be used.
;
have a
MADDER LAKE.
iron being used.
quantities,
It
145
may be
obtained in sufficient
in
water
in a few
covered with a
violet colour.
;
if
added to
:
colour will
1
nation.
alum
:
changes
it
the
to an orange yellow.
is
The
effect of the
acidulated water
not re-
matter
it
also renders
more soluble
in
pure water
matter
after
is
supposed to be carried
acidulated water
will
is
off,
and then,
plain
the
used,
water
run
more
;
was used
and
It
may be
all
is
produced by fermentation,
as
it
but at
events
must be got
rid
of,
146
MADDER LAKE.
;
and
if
a piece of cotton
filter, it will
soon be seen
have thought
my
may
to
some
useful
result
in
the
art
of
dyeing.
On
For
potass
the precipitation
of Lake.
soda or
may be employed
air
if
the latter,
it it
should be
to absorb
it
exposed to the
might
be saturated by
action.
is
its
When
very dark
when
and
is
sembling enamel in
its fracture
is is
finally,
when
re-
duced to powder,
it
very pale.
On
the other
much
or
has not
much
gum
it
becomes much
Lake may
is
useful,
particularly
when the
extent.
its full
MADDER LAKE.
which had been only two days
147
exposed to the
washing process
the
alumine
solution:
nearly black
it
when
dry,
water
remained pulverulent
combined with
oil, it
had
great intensity.
Whatever kind of
the purple substance
better not to throw
alkali is
used in precipitating
of the
madder,
it
will
be
of the colour-
ing matter
fine in proportion
Thus by
dividing
the precipitates, various sorts of lake are obtained, the intensity and brilliancy of which, after the
first
not required.
affinity for
it
the rose-
part
of
it
at
time,
and
have not
strength sufficient to
make red
ink
it is
also difficult to
The
only method
know
draw
h 2
148
of alumine which
MADDER LAKE.
is
in excess:
power of
the colour;
only changes
it
tint is destroyed
by washing
is
may be
by collecting
alkaline waters,
in another, to
which
should
off,
and one
is
They
salts,
a portion of
the
gummy
On
the adulteration
of Madder, and
the
means of
We
called
in
to
afterwards
of the tincture
MADDER LAKE.
is
149
it
is
only to
make up
for a failure
have too
is
much
reason to believe
I
1
,
well founded.
have
the
bought
in
its
England
intensity
and
the
off part of
;
and
but had
have detected
it.
The
true colour of
madder lake
:
is
that of the
if it
look crimson,
there
is
it
yet
when
some
When
it is
is still
doubtful,
1 I have had samples of lake sent me from Berlin, under the denomination of " carmine madder," and which evidently owed
h3
150
to judge,
RED OCHRES.
whether
it
matter.
the
The
alkaline carbonates
do not dissolve
in
colouring
for
matter
contained
the madder
affect
it
roots;
be
essayed,
is
boiled in a
weak
solution of carbonate
and
well
washed
and
if
is
if
after this
it
has lost
its
brightness,
is
coloured,
there
been adulterated.
The
appellation of
brown
red,
is
somewhat lowered by a
tint
of brown.
We
nature
;
often
if
find
this
colour
ready formed
is
by
evaporated
iron,
the latter becomes hydrate of iron, and changes to the red colour.
The
change of colour
this rust,
which
is
at first of a
PURPLE COLOURS.
yellow ochre tint, turns
air,
151
in paint;
made from
yellow ochre
calcined
it
is
Very
brown red
is
also
made by
calcining sulphate
of iron.
iron
the residuum
is
violet
has
not
been more or
This colour
the
fine
:
carnation
which
in the
it
produces with
white
and we perceive
works of Titian,
very
much employed.
PURFLE COLOURS.
Painters usually mix blue and lake to
colour, but
make
this
it
we
may be prepared
cassius, violet tints
From
purple
of
may be
n 4
152
a combination of the
it
until lately
;
but by combining
in the
with
is
it
duced, which
is
oil.
have
given
it
test,
weak
The gold
acid,
which
this saline
mass
The mixture
is
now a violet
colour,
precipitation, but
The
is
mixed with
oxidation takes
BLUES.
the violet tint: the colour
dull
153
but permanent,
it
is
and except the purple of cassius just described, used in fresco. is the only purple that can be
BLUES.
AXD ALUMINE.
The high
price of ultramarine,
made
it
from
lapis lazuli,
lasting.
M. Thenard,
to
1802
and experiments
for the
as might be required of
him
he succeeded
in
The
phate of cobalt
preference, for
may be employed
it
The
more
These blues
Take
154
BLUES.
Tunaberg, which
iron,
is
composed of
after
cobalt,
arsenic,
it
and sulphur;
being pulverized,
is
calcined until the vapours of arsenic are quite dissipated; it is then dissolved by an
acid; the solution
ness,
is
excess of nitric
the
;
residuum
is
filtered to separate from a portion of arseniate of iron, which is deposited by this operation ; the clear liquor is then treated
it
water
this liquid
then
sub-phosphate of cobalt
is
obtained.
is
The
the
taken from
filter,
moist, and
mixed as
it
is
found
when
after being
an excess
well
The mixture
1
;
inti-
then to be dried
it
when hard
enough to be broken,
is
in the
same temperature
for half
an
remove a
trial
When
air, it
more
brilliant
than when
155
is
withdrawn
into
the mixture, as
it
of
we
shall show,
and by using a
solu-
phosphate of soda.
very brilliant,
is
frequently
The same
edifices
in Italy,
it
the state
it,
in
1809.
with several other colours, in a shop at Pompeii. He found that it was blue ashes, not prepared in
the moist manner, like that which the paper-stainers
h 6
156
use, but
frit,
EGYPTIAN BLUE.
by calcination.
He
considers
it
a kind of
it
proof against the action of the acids and alkalies at a moderate temperature.
Some
in Italy
Davy employed
himself
Romans; and he
further,
powdered
flints,
is
He
thinks this
who has
to a king of
who
informs
Egypt
to Puzzuoli,
was
made by
calcining, in
a potter's furnace,
balls
made
am
Veneut
nitri
flore
am
mambus
versando efficiuntur, et
ita
colligantur ut inarescant.
EGYPTIAN BLUE.
tians,
157
who were
so skilful in enamelling,
knew how
DeW
red, green,
color
A rabico
I
detto
Turchino.
sort of blue in
skies have
many
become green.
The blue
ashes, as
we
few weeks
become
affected
by the action of
Had Paul
and would
Although
it
appears to
oil
me
not to be employed in
to be wished that
componuntur
aes
painting, yet
much
we
aridae
itai
in urceo
fictili
ut
et ea
cum
rediguntur colore.
Fitruvius,
book
chap.
ii.
158
BLUE ASHES.
it,
making
it
would be of great
is,
One remarkable
it
effect
of this colour
that by lamp-light
it
appears someall
shines with
the
cobalt,
comes
violet
by
artificial light.
BLUE ASHES.
This
is
it is
either natural or
It is only
employed
after
in decorative paint-
ing
in distemper.
it
The same
if
in a few days,
ground up
what are
called
"green ashes,
11
by precipitating,
means of glass coloured by copper green. This substance was reduced to powder, then mixed with nitrate of potass, and then
when
if
submitting the mixture to a heat not strong enough to melt it; it has combined intimately, the colour has become blue; but
fusion had taken place, the matter would have been green.
;
One thing is surprising it is that the spungy mass does not contain any more alkali in a free state, and is hardly touched by the acids. When it is finely ground, it produces a brilliant celestial
blue.
12
BLUE ASHES.
copper.
1 5i)
The manner
:
of doing this
is
very im-
portant
cipitate
if
becomes
sand
if it
;
pasty,
and
too pale
will
is
by mixing
it
sal
ammoniac thus
take
and
filtered,
ammoniac
the lime
is
then
smooth
the
sal
it,
then added to
unite
stirred, to
them
properly.
allowed to cool as
it
much
the carbonate
rises considerably,
five
and should
it
reach to twenty-
grey colour.
The mixture
is
is
160
PRUSSIAN BLUE.
PRUSSIAN BLUE.
This colour takes
wherein
it
its
had
the
oil
but,
to
became
blue. 1
Dippel
The method
1724,
many years among the chemists. In Woodward, who was a member of the Royal
that
we must
ascribe
the
sudden developement
of
the
blue
colour.
PRUSSIAN BLUE.
161
Some
is
thrown
into
contains.
is
With
this liquid,
by
rest or filtration,
precipitated a solu;
and alum
the precipitate
washings.
At
lye,
Prussian
and called
a triple
little
This
salt is
the
lye in
which
it
and
is in fact,
much more
it
sessed solidity,
utility
:
it
and
is
a good dryer
but
it
therefore
it
make green
tints of
brilliant
In the article on browns we shall show, that Prussian blue, exposed to a strong heat,
becomes an
is
excellent brown.
When
Prussian blue
prepared
162
ULTRAMARINE.
is first
with the
air.
It
must therefore be
is
well stirred
is
developed,
it
washed by
filtration.
When
the sulphate of
is
carried
off
soluble in water,
dry
but this
will
or
contained
ULTRAMARINE.
This substance, which
colours of the palette,
ing.
It is produced
is
brilliant
last-
is also
from
Great Bocharia.
colour
;
The stone
is
not uniform in
its
is
it
and
in
it
that
is,
Having chosen
most
free
to
an impal-
pable powder,
when
it
forms a
fine
blue colour.
means of
ULTRAMARINE.
which the colour
is
163
The
give
lazulite is first
pieces, to
steel
;
an opportunity
for cutting
away, with
be found
scissors,
may
all
and
this state,
it
is
to be thrown
As
to
The
pieces
a strong tena-
thus formed
this is dried,
and pro-
gum
mastic, turpentine,
in
is
com-
still
continue pliant
and manageable.
mass
is
then thrown
164
into a dish
full
ULTRAMARINE.
of water.
It is
kneaded at
first
It is
full
formed
of water,
renewing the
more
closely to
the
The paste
is
then
ultra-
when the
of the colour
is
but
when no more
warm
soda
When
is
of ultramarine, which
and a small
more or
The ultramarine
which carries
off
is
then washed
little
in boiling water,
of the
ULTRAMARINE.
resinous matter mixed with
the brightness of
its
it,
165
tone.
Although
this
colour
may
be destroyed
its
a pinch of this
colour
being put
it,
into
glass,
and some
is
nitre
thrown upon
destroyed
in
adulterated
easily disco-
by one of these
vered.
articles,
the fraud
is
A
;
solution of indigo
it
it
be attempted to |heighten
phuric acid
will
soon discover
it,
was believed
its
for a long
;
owed
colour to iron
but
MM.
Clement and
lazulite at
and
purifi-
from
iron,
it
in
the proportion of
166
stance not at
it
ULTRAMARINE.
all
suspected.
On
employed
making
soda,
by means of decomposing
Vauquelin
He
colour.
To
realize these
hopes soon,
it
to give a stimulus
this
Promoting Discussions
in Science.
They
offered a
premium
of
sterling)
to any one
rine,
making ultrama-
by
artificial
that
made from
completely solved by
M. Guimet,
dent of the polytechnic school, and at present commissary of powder and saltpetre to the govern-
ment.
is
identically the
qualities
appearance and
all
other
lazuli.
as
There are
ULTRAMARINE.
epochs,
167
it
when
were,
become ripe
in different
places at the
same time
such a
cir-
that
M. Guimet
professor
of chemistry at Tubingen,
discovery,
a similar
The announcement
prived
M. Guimefs
success de-
M. Gmelin
the process.
You must
ing together
the
first
in melt-
some well-pulverized
times
its
mass
in water,
and
precipi-
tating
it
The alumine
made by
precipitating pure
alum
After this
is
168
tates
in
ULTRAMA1UNE.
the hydrate of silex which he has employed
parts,
every hundred
contained
fifty-six,
and
that
dissolve
warm,
in caustic
fix
;
much
and
upon
take
of
latter,
a quantity
this is
constantly until
This combination of
is
made
is
to
this
is
it
attains a
moderate de-
mixture
thrown into
it
by slow de-
grees
is
added
in
a moderately
fire
is
and
it
now
the latter
ULTRAMARINE.
is
it
169
separated by water
if
can be carried
off
by a moderate heat
should
all
pow-
Annates de Chimie
et
de Physique,
tome
xxxvii. p.
ought to be
crucible
for the
mass of
frit
tint
differ-
materials
Perhaps this
and subjecting
fire
in a close vessel.
in this pro-
my
who
duty to give
not
fail
it
publicity, as I
am
per-
suaded that
to those
it will
will
persevere in carrying
I
towards
170
that
GREENS.
degree of
perfection
of which
think
it
capable.
GREENS.
Besides the green tint composed from the simple
The carbonate
a bright green.
The hardness,
is
sufficiently
lost
any of
their lustre.
It is
mencement of painting
used as a colour.
OXIDE OF CHROME.
Mountain green,
in like
171
only a car-
manner,
is
always had
We see,
in
pictures, green in a
prepared
artificially,
by precipitating, with
copper
is
an opaque
is
colour, of
used in decorative
carbonate of copper
but
it is
probable that
if
it
could
it,
other
of the
OXIDE OF CHROME.
This pigment exists perfectly formed in a natural
state
;
but hitherto
it
demands of
ing
is
art.
paint-
an
artificial
obtained
172
OXIDE OF CHROME.
1
For
this
with
in the
this is placed
neck of which
a tube
is
is
fixed a sleeve, or
bag of
linen,
which
is
plunged
into water
to facilitate
it
mercury as
is is
volatilizes.
;
retort
eury,
itself in
mains
in the receiver
may
be considered complete.
M.
facile
for pro-
His method
The chromate
of mercury
is
chromate of lead
that
is,
by precipisuch as
salt,
ii.
GREEN EARTH.
parts of chromate of potass
to
173
then
and of sulphur
wash with
dissolve
and carry
is
many
by
M.
Delasaigne
mate of
iron,
is chiefly used in
enamel
if
may be employed
it
in oil
and
this
must be attributed
it
to the
has not
much
brilliancy
yet
it
and
this is
sometimes
an advantage.
GREEN EARTH.
This substance, which
in the vicinity of
1
is is
Verona,
et
i
an unctuous earth of a
174
pure green
with
oil.
GREEN EARTH.
tint,
Klaproth,
who
analyzed
it,
found that
it
contained of
Silex,
53 parts.
iron,
Oxide of
...
28
2
Magnesia,
Potass,
10
6
Water,
99
also
differ-
ing
little
in
which
differ
from the
that
Green earth
often
Rubens
much
dead Christ.
It is evident that
:
much
of the glazing
is
it is,
in fact,
most useful
substance,
in glazing
it
CRYSTALLIZED VERDIGRIS.
concentration of
its
175
see, in the
molecules.
We
l
works, some
demi
tints,
it,
therefore,
must be used
It
is
prepared by dissolving
it,
and
The
1
painters,
instance,
who
when the
As an
we
Death of Cleo-
will, in time,
first
laid
on the picture.
oil
To
upon
one of these colours in their natural state; and if the tone this gives to it should be more intense than that which it acquires by being ground up, it may fairly be concluded that it will attain to the same degree of strength whenever, having completely dried,
its
it
is
possible.
Umber,
3
this class.
is,
The
verdigris of
commerce
is
It is prea salt in which the oxide is in the largest proportion. pared by exposing plates of copper to the action of the vapour exhaled from vinegar. At Montpelier and Grenoble were formerly
176
SCHEELE^ GREEN.
;
and
Leonardo da Vinci,
in his Treatise
on Painting,
it
is
dry
would be carried
off
This colour,
when ground
but
its
only use
glazing.
made by
glazings of
Yet
it
is
knew
scheele's green.
The
making
:
this colour
has
been published by
discoverer
warm
water,
when
dissolved,
the liquid
;
is
the
warm
arsenical solution
is
at a time,
constantly
is
the mixture
to be left quite
for
some hours,
liquid is
then
scheele's green.
decanted
177
pints of
warm
;
it is
and
is
then decanted
having
times,
it
and when
sufficiently firm
is
By
we are not
;
certain of
because the
same quantity
of alkali.
To make
For that
l
and dissolved
the solution
is
in
sufficient
quantity of water;
sufficient
Arsenic being a very dangerous and active poison, the preit in water, to avoid being
to the
exposed
its dust.
178
scheele's green.
then dissolved
nicated copper
two
alkalies
is
if it
it will
be
may
the
warm
pale
;
state
if
if
more
carried on
sand, and
it
then crystallizes
if
caustic alkali be
and
dries hard
is
required
may be
but
it
be equally
fine.
Prepared by
is difficult
this
and
to grind
to
but
if it
wards allowed
pieces,
split into
small
and then
can be triturated
much more
readily.
VIENNA GREEN.
179
VIENNA GREEN.
For many
brilliant
commerce
by the
green.
name
M. Broconnot, having
in
analyzed
it,
has succeeded
:
preparing
it
in the following
manner
warm water
solution
then
mix
this
by slow
is
first,
until the
effervescence
three
parts of acetous acid are then to be added, so as to allow a trifling excess discoverable by the smell ; by
a few hours
it
at the
quite disco-
loured) a
powder of a
;
fine
crystalline
then decanted,
carefully washed.
same
result.
Some
distilled
vinegar
is
180
VIENNA GREEN.
is
to this
is
added a watery
;
solu-
these form
tint,
again dissolved
the
is
mixture
is
then to be boiled
a new precipitate
formed
in
then drawn
off,
still
contain an ex;
cess of copper,
some arsenic
is
to be added
;
if
only
or
if it
contains
an excess of acetous
solve
more
verdigris.
do as
The
if it is
be increased.
it
for this
purpose a pound
;
must be
dissolved in water
add to this
fire.
The colour
BROWNS.
required hue
if
181
it
but always
superior to
it
in
The
alkaline
liquor
BROWNS.
Asphaltum, or bitumen,
mineral
oil
is
a species of pitch, or
is
become
solid.
Bitumen
collected on
Dead
Sea,)
and
is
called "
Jews
of the asphaltum of
commerce
asphaltum, which
is
evaporated to dryness.
its
The
bitumen
is
fracture, is
It is
easily pulverized,
and
its
powder
is
brown.
not ground
colour
is
it
is
rency
but
oils,
and the
as pos-
much
a thick varnish
oil
first
made by
dissolving
it
in
of turpentine
this does
not require
much
cold.
heat,
and even,
is
when
This varnish
so thick that
it
cannot be used
oil
without mixing
it
of Italy,
or mastic varnish
flowing off
182
the palette.
BROWNS.
This
is
the
may
:
also
be
prepared
in
the
following
manner
Venice turpentine,
...
15 grains.
Gum
lac,
60
Asphaltum,
90
Drying
oil,
240
30
by
to
White wax
The gum
adding
fifteen grains at
it
tum
is
then to be mixed in
oil,
like
manner, by degrees;
boil-
the linseed
ing point,
is
also
the
wax
is
then added.
bi-
tumen
will
but
the interior.
By
is
small hole, the bitumen oozes out, and then the hole
is
closed with a
wooden peg, so as
in contact
to prevent the
air
from coming
12
183
In this
1
way
it
may
long time.
the bitumen
were dissolved
in
amber varnish
The gum
the varnish.
may be
the
dries quickly,
and
is
is,
permanent.
to place
it is
M.
fire
it
Bouvier's process
;
upon a clear
when
small nut
syringes
Some years ago, an Englishman proposed the employing of made of tin, or of copper tinned, to preserve from injury
certain colours,
the
bladders.
And
the
London Society
it is
for the
Yet
many
that expedient.
&c.
18t>
grows hot
remove
let it cool
if
long on the
tained
it will
:
fire,
when
the colour
brown
this is quite as
it
should be.
M. Bouvier
use.
common
He
it
11
succeeded in mak-
ing
manufactured in Eng-
land.
Thus
it
which there
is
much
is
alumine.
That of English
(in
manufacture, which
France),
:
of this substance
when completely
only
in fact,
Another condition
is,
that the
This
is
easily
may be
quick
fire
BROWN
PINK.
1S-5
when taken
dries well.
BROWN
PINK.
is
made by
way
This co-
more lasting,
if,
were used
nuts,
1
and
still
Mixture may
tions are
be made,
in
whatever propor-
husks of nuts
preci-
the colours.
The husks
it
of nuts contain
for this
for the
reason
186
UMBER.
UMBER.
Some
bituminous
and inflammable,
and Cologne.
It is
in
Isle of
Cyprus, and
is
known
Its colour
an
olive
much
darker,
and
of a
warmer
when
it is
calcined.
It is prin-
cipally
much
not
has been
is
It
but this
aside
it
this disadvantage
may
be obviated by mixing
Some
grounds.
There are several of Poussin's pictures painted on umber That fine series, " The Seven Sacraments," is clearly
BLACK.
187
the
of
The
tity of
it
loses this in
I
to the
light.
remember
brown
hair of which
of white,
and
brown
yet this
bituminous
therefore
and to compensate
air,
BLACK.
The
made
black
but
fossil
also used.
Ivory black
is also
188
of that substance,
is
BLACK.
left
it
Bone
last
black,
;
from the
it is
little
warmer
if
in tone,
brown,
pleted
;
the carbonizing
stopped ere
it is
it
com-
this
brown
is
must
be ground in drying
oil,
not dry.
less
transparent
and the
It
is
tints it
prepared by
and husks of
there
is
not
much
;
difference
various sorts
to
is
that which
grinds the
finest,
is
be preferred.
In this
which
is easily
ground
peach stones,
vines,
and most
on account of their
elasticity, difficult to
reduce to
Liege black
crucible,
is
prepared by calcining
it
it
in a close
in boiling water, to
it
contains.
In a similar way
is
strongly
recommended by M. Bouvier
in his "
Manuel de Peinture^
INDIAN INK.
It
189
black,
oil.
have
not experienced
black,
but I
am
certain
that this
when
well
calcined
the
same
;
for
is
they
differ
very
much
in
quality
lightest
lamp black
;
smoke
is
much
heavier
and coarser
monia.
it
is
and though
it
would be acceptable,
it
if I
of a very
good
quality.
INDIAN INK.
The
best
of this
;
black fracture
its
body
is
finely
compact, and
;
there
is
not
is
when
a metallic appearance
will
when dry on
the paper,
it will
it
give
190
INDIAN INK.
at once to that action,
way
when
it
ivory,
Nothing
preparing
his
is
it,
positively
known
'
1
of the
method of
1 ''History of China.
The
receipt which he
with
M. Julien, assistant librarian at the Institute of France, has, much diligence and care, examined the Chinese Encyclopedise, much
by Father Duhalde.
I
He
has, however,
think, ought to be
made
is
known.
From
these documents
;
we
Nan- King
imported into
we find those of the finest quality are made with lamp black of the oil of Sesame with which are combined camphor and the juice of a plant called Houng hoa (hibiscus rosa sinensis),
;
is
its
dispersion.
From
smoke
is
removed by sweeping
iii.
it
China
pure
oil,
we find that one-tenth part of the ink manufactured in made with lamp black, prepared with oil of the Toung tree, or the fat of pork. The remainder is made with lamp
fir
deal.
One
hun-
dred lamps
but
if it
be collected slowly,
it
becomes burnt.
in the following
is
INDIAN INK.
has given, as taken from a chinese book,
follows
:
191
as
is
The makers of
hohiang
tsao-ko,
and the
juice of ginger
these are to be
and then
ten ounces of
deal trees, there remains only the lighter parts. The ink made with the lamp black of this wood loads the pencil, does not flow
readily on paper, nor
is it
perfectly soluble.
When
a hole
is
;
it
is
an incision is then made in the stem near to this a lamp is placed the wood grows warm by degrees; and in a short time all the juice of the tree flows out through the incision.
;
dug
to be burned for lamp black ought to be and about half a yard in length; the apparatus for collectis
a long cage
made
up by the sailors as a shelter from the sun it should be sixty cubits in length (thirty yards), both the interior and
exterior are covered with large paper
;
when
it
is
prepared they
several partitions, leaving an opening for the passage of the the floor is laid with earth and bricks the fire is allowed burn for several days, and when a certain quantity of the wood has been consumed, they go into the bamboo cabin to collect
;
up smoke
set
to
the soot.
As soon as the fire is lighted, the smoke soon penetrates from the partition to the last the smoke which fixes. on the ceilings of the two most remote divisions gives the lightest and softest black that of the centre chamber is heavier and inferior
first
;
is
used in making
first
it is
in quality, it common ink whilst that which forms in the and second from the entrance is too coarse for ink-making,
;
and house-painters.
192
this
size,
IXDIAN INK.
electuary
is
made from
is
parchment
this mix-
ture
black,
paste,
is
wrought into a
;
fine
all
known
to
some
means of substituting,
of our
them.
He
therefore,
on
this subject,
made
dili-
we
by a bush or shrub,
The Chinese
Ho
hiang
is,
an aromatic medicinal
buted the same
which are
attri;
qualities, as
extracted
balm
INDIAN INK.
Finally, the
93
Kan-sung
is
pleasing to the
The
diffi-
cult to describe
yet,
in
first
me
The harshness
of
their scent
much
how
is it,
then,
I
clari-
how then
shall
we
gallic acid,
plants
no one has
yet,
able to saturate the acid contained in the vegeThis, probably, is the mimosa indica ; the pods of which are used in the process of dyeing, and have been for some years imported into Europe. In France they are known under the
1
name
of babla ; their decoction gives only one precipitation, not very abundant in the solution of gelatine.
]Q4
table decoction
INDIAN IKK.
and,
it
may be
Chinese ink
may
However imperfect
this description
may
be,
it
way
to us, by informing
and
fix it
more
firmly
on paper.
In
fact, if fine
produces an ink of a
it will
fine
but in
it
its
fracture
not be glossy,
like
neither will
be indelible on paper,
the good
af-
namely, that
it
is
summer
and
washed
The
first
to equal that
gum
it
INDIAN INK.
sphere
it
195
may
be changed
gummy and
saccharine
substance.
This
method
To
it is
re-
quisite to
size
some
juices of
astringent vegetables, so
carefully
combined,
as
The
tine, will
will unite in
a resinous,
elastic,
is
and
brilliant
mass.
be dissolved by ammonia
greater
solution
(hartshorn), and in a
quantity of
of this
;
gelatine.
is
The ammoniacal
very brown, but
precipitate
transparent
water.
it will
not dissolve in
The
is still
it
much
is
we must
k 2
196
INDIAN INK.
size
The
skin
is
not evi-
dent at
it
should have
and
must
state,
way
of experiment, to convert
it
asses'
I
skin into
size,
by passing
through lime,
it,
by
steeping
The Chinese
attribute
to
this
animal gluten
qualities,
and
it
may be
with
size
them
in preparing it
compare
with that
made from
offal of
oxen, &c.
The
in
best size
is
water,
is
only
swells
without
dissolving
this
species
sale,
but in place
of
it,
After having steeped this substance for several hours in water, about three times
its
weight, which
to be
drawn
off
which con-
which
is
INDIAN INK.
slightly acidulated.
for
197
then to be boiled
it
The
size is
to
The
combined by a
little
at a time,
ration
is
sufficient.
it
The mixture
then
filtered
then to be taken
this
matter
is
then to be
washed
size
;
in
warm
again
it is
filtered,
and
it is
allowed to draw
in-
much
time
may
not be
The
Nut
of
much
may then be
boiled with
k 3
1.98
INDIAN INK.
and then mixed with the
size,
magnesia, or lime
'
fil-
and the
size
thus prepared
be so
much
less soluble
it
when
quantity
may
It is only
ascertain the
astrin-
By whatever mode
for being
the excipient
is
prepared,
it
must
be equally well
water, until
it
by washing
;
it
in plenty of
leaves no sediment
is
whenever this
concentrate
its
consistency, by evaporation.
It is also
and
size,
may be more
we
without
:
difficulty,
trials
With a
a slab
pencil, apply
of porcelain,
it
INDIAN INK.
writing on paper;
if
199
the
ink
it
on the porcelain
size in
has sufficient
it
and
if,
after it is dry
on the paper,
is clear
cannot be
is
washed
too
off
by water,
it
that there
not
much
size in
the composition.
The Chinese use wooden moulds to form their made very well ink paste, but these moulds may be
of potter s clay, baked
;
been half
tongue.
vitrified
by the
they
will
adhere to the
the dismoisture in the paste, and this facilitates after charge of the moulded ink, in a short time sticks having been compressed in the mould ; the
the ashes, to of ink are afterwards covered up in
split
in the
drying; and
may
and
if
should should cease to absorb the humidity, they dried be boiled in a wash of caustic lye, and then
as usual, or exposed to a red heat.
The
fluence
quality of the
in-
We
have
article, that
The
when
drying,
black in
its
composition.
K 4
200
INDIAN INK.
made,
in
is
of extremely light
lamp-black;
is
the
taken.
For
much smoke
various
oils
as possible:
and
and
\fill
certain which
prepared from
is
of girgelin, which
we are assured
the
of sesame.
M.
made of
found two
is
it.
This substance
also
Encyclopedias
little
From
this information, I
mixed a
I
camphor
in the ink
which
made, and
When
the
which
it
in a state of paste
it
it
I have pressed with the fingers slightly touched with oil, and
in this
seal,
WHITE LEAD.
and
201
the camphor.
WHITE LEAD.
is a The only white now used in oil painting, carbonic combination of prot-oxide of lead and " the sub-carbonate it is called in chemistry acid
;
of lead."
it,
From
arises
these are
white,
of
ceruse, flake
silver white.
class of whites. reputation of being the best in that and is therefore used It is not a very clear white, painting, and in priming cloths for
chiefly in
house
it
pictures
is
often
The Ger-
man
of the sulceruse contains a large proportion of the first phate of barytes, but the Dutch ceruse
quality
is
pure.
Flake white
is
it
would
It
tage of not being liable to adulteration by the colourmen " common white."
i
it is
called
lead,
and
ammonia.
K 5
202
WHITE LEAD.
These two species of white are prepared by exposing plates of lead to the action of vinegar steam
and carbonic
sels,
acid.
For
slips of
wood
upon them, so as
the bottoms of
lines,
fills
close together,
Other
upon those
pots,
some
manner
and thus
is
six or eight
may
permit.
To prevent
the mass.
closed, but
:
opened
occasionally to
when
that
is
allowed to pass
it it
may be
is
only-
dry the
carbonate
formed.
WHITE LEAD.
203
the
flake white of
commerce.
The
in water,
under
the produce
;
is
then washed,
off,
and allowed to
settle
the water
is
drained
until
it is
then put into conical pots, and dried for use. This
is
the
way
Its
in
their ceruse.
want of brightness
from a
litter,
is
which
darkened
obviated
as
it is
formed.
This disadvantage
may be
have a
the
1
.
flakes
will
then
brilliant
whiteness
The
following experiment,
made
in
my
presence,
will
it
must be wetted
K 6
204
WHITE LEAD.
vessel of
;
common
vinegar
is
placed under a
glass bell
vinegar, in such a
way as
sur-
the bell
it
is
on which
stands.
A
ble,
similar apparatus
gas.
The two
bells
month
inclosed
whilst,
glass,
the plates
more than
it
was
soft,
rate.
There
no doubt, that
if it
had dried
flakes,
in this
state, it
such as
We
collected
the whole
it
krems white.
it
Thus
KEEMS WHITE.
described the carbonic acid
litter.
is
205
just formed,
is soft
and
it
no doubt, to dry
it
left
KREMS WHITE.
The
acid
is
but the
heat of a stove
dung.
The leaden
and carbonic
made
some resinous
The
upon
lath,
The
leaves
To produce
is
requisite in
making white
added to
the vinegar.
The same
effect
may be produced by
One-twelfth of an inch.
206
KREMS WHITE.
closed,
warm
air.
carried
up to
this
and much of
it
would be
lost.
may be
opened,
and
if
But
method,
it
is
made
exis
This
water
is
then turned
case,
and the
mass
is
off
carbonic acid.
KREMS WHITE.
207
The
little
time,
and,
when drained
retains
when
dry.
Krems
in oil
:
white
is
is
used
it
much
finer
an equal
weight of krems
than flake white.
will
cover a
much
greater space
it
When
newly prepared,
gives
The Society
(in
for
its
France,) on
The
it
white of commerce.
MM.
finest
208
KREMS WHITE.
it
was prepared
in
a similar
they were
The
MM.
Cadet de Gassicourt
fol-
which
is
much improved
The mode
of
is
quite different
in this process
in the
methods just
described.
The
by forming a
This
and
when
is
this
mixture
is
sufficiently
concentrated,
it
passed through a
the
collected,
washed
carefully,
and then
is
The
lead, which,
(eighth year).
KREMS WHITE.
power.
209
is
The carbonic
acid employed
it is
drawn from
it
washed
it
by which
means
and
oily
it,
which would
who
make them
public.
Besides,
would be very
diffi-
machinery without
;
but as
artists
may happen
possible
to
to be in places where
it
would be imperhaps
it
procure
fine
white lead,
would be useful to
days, they
offer
purposes,
their
have at
command,
and
litharge, or
even lead.
afterwards supersaturate
it
by combining
with litharge
1
or contains copper,
it
will
easily
done by
cal-
in
an iron
vessel.
will
its
But the copper, not being precipitated by the carbonic acid, remain in the solution from which it may be precipitated in
;
metallic state by
means of
iron.
210
be made in a
KItEMS WHITE.
barrel of white wood, with an
;
little
to this a handle
is fixed.
By
saturated solution
and,
vase.
obtained
it
this is decanted,
when
cleared by rest,
is
To form
acid.
For
by
this purpose
washing,
filled
with
it
this should
these
may
may
be used with
into
beak of a tunnel
mity
is
to be plunged to the
full
bottom of a flagon
;
containing
this flagon is
aperture,
this
is
called "
Waulfs
is
apparatus
;"
from
KREMS WHITE.
any sulphuric acid which
it
211
the tubes
may
contain
may
flour paste
and paper
be sufficient luting.
prepared,
some
;
sul-
the
its
weight of water;
escape by the
to
mouth
must be
wooden
cylinder
the
tunnel
may
then be
filled
may be
let fall,
becomes
is
the carbonate of
lead
the liquor
is
it
left
is
is
poured
off
this
vinegar
still
may
again be
and a new precipitate obtained; the prebe washed in a large quantity of water,
cipitate is to
212
KREMS WHITE.
;
this is collected
and
All this
may be
properly done in
White
then
it
lead
is
used only
in oil painting,
;
and even
becomes blackish
its dull
more or
less, in
the atmosphere.
White
temper painting.
There
is
That
He
his
experiments
upon the
Among
KREMS WHITE.
213
is
He
soon applied
it
practically
and touched
Water, which in
itself in
its
equal to
that
2 is,
bulk,
may
be
made
to
et
to
contain as
much more,
one of water.
CHAPTER
V.
From
Italy
Raffael,
to be fixed to a particular
ness and
removal.
The
latter,
therefore,
gained
preference;
and
after
Raffaers
time
In the
Low
much
longer.
Even
in the time of
Rubens there
but
Flemish
215
wood.
The
pose.
wood
;
as
very
sel-
dom
It
become
dis-
more or
subject.
To prevent
times, but
;
were neglected
joining,
bands
upon the
and even
the glueing on
who
lived in
it
was
known
in
described
;
Theophilus'' treatise,
De
arte
Pingendi
it
was
edges, by a glue
of
made from
cheese, the
;
manner
us,
and he assures
216
nor dryness
has
been
verified
by experience,
this
which clearly
of glueing,
1
method
It is
artists.
done
in the
manner
Take some
milk, triturate
all
2
fresh cheese
made with
in
rich
creamy
and wash
is
it
warm
water, until
this
may be
rid
afterwards pressed to
quite
the
water
when
;
drained,
it
crumbles
like stale
bread
it
is
To prove
the fact,
some prepared boards have been exposed and sunshine for some weeks one
;
portion was jointed with the ordinary glue, and the other with the
glue of cheese.
remained
and undisturbed.
follows the original text of Theophilus
Here
mortariolo
" Caseus mollis de vacca minutatim incidatur et aqua calida in cum pila tamdiu lavetur, donee aqua multoties infusa Deinde idem caseus attenuatus manu mittatur
aquam donee
in
indurescat.
rursum mittatur
addita aqua
mortariolum, et
cum
spissum factum
sit
ut sunt feces.
"
Hoc
postquam siccantur
ita
sibi inhaerunt, ut
12
217
is
causeum
is
mixed with a
becomes transformed
into a very
dries
quickly,
it
cannot
again be dissolved
therefore, no
more should be
This
is
why
all
the use of
it
has been
is
abandoned
but at
difficulties of its
preparation
and use
would be greatly
at the
will
moment
of trituration
little
It
warm
in the
is
an
article sold
under
fine
the
name
It is a whitish
is
powder made
up in small
verized.
This cement
lime and causeum, or else the white of egg dried and finely pul-
;;
218
right proportion,
fine
powder;
The
which
it
is
their frames
Plaister ground
ingessare
is
preferable to
"to
panels.
I
starch,
paste be-
mummy,
and
it
pictures of Paul
primed cloths.
The
colour,
is
practice
now
is,
oil
of a closer or
more open
texture.
When
the
219
is
made
of glove
parings,
which should be
blunt,
and as
may be
is
quite dry,
it
stone, to
knife,
is
make
it
free
couch of ceruse
applied
when dry
is
this
also
pumiced
a second couch
third,
sometimes a
surface.
to
obtain
even
Formerly, the
red,
first
and
some
with litharge
but
it
grains
like
sand
and thus
At
in
Had
L 2
220
for their
own
canvasses
with
more
attention,
for
any
negli-
peculiarly advantageous
for
though
at present
it
not to be had of a
;
much
yards
it,
yet
if
demand
for
they,
able dimensions.
is
even surface
is
applied,
this
is
the
why
two or
winter season.
for priming,
may be
short-
first
and second
it
quite pliant.
By the
for-
is
PANELS, CANVASSES,
AND WALLS.
oil is
221
absorbed, they
may be
safety.
'
rolled
up
like
waxed
As
with the
dis-
size,
mixed with a
little
oil,
well boiled.
in four or
may be made
which
will
ably.
It is
may
be
of these grounds
the
colours
will
change much
dried ground
but such
not
my
opinion
for the
viscous
oil
Hence the
action of the
T
oil,
circumstances
compel
when
fresh, they
M. Rey
;
is
of our colourmen
who
lias
adopted
this
method.
canvasses
years. year).
He
See
gave to his primed cloths the name of absorbent and they have preserved their pliancy for several
Le
Bulletin
de
la
Societe
a" Encouragement,
(fifth
l3
222
PREPARATION OF
little size in it,
to absorb the
excess of
still
oil
but
it
When
under
cloth.
For
this purpose,
oil,
some
fine ceruse
must be
ground
in fat
be incorporated.
Two
will
be a sufficient preparation
serve its pliancy for
and the
many
years.
The preparation of
finely
it
is
not
difficult
it
must be
to the surface
and to make
it
more permanent,
it
a texture
This
why
of buildings
or cement, to prepare
them
When
the ceiling
is
on
in succession
GROUNDS ON WALLS.
after these a course
223
colour
;
of ceruse,
or other
ground
the
usual coating
it
is
is
as durable as stone,
if
the
will
workmen
cement
this can be
made
;
and sand
may be
for
mosaic, which
the
oil
the
oil
is
cement
will
however
it will
freely
may
become
quite fixed
and
it is all
the better
for having
Instead of boiling
I
and
wall by a heater
armed with
must be kept
the
oil.
l4
22tt
DEAD COLOURING
this preparation there is
With
no danger of the
injured
or
of being
by
humidity; and
it
it is
equally
good
was
practised by P. Veronese,
At
that era,
oil
when
painting,
The
colour and a
little
size
oil,
to
small portion of
now be used
;
it
is
colours only
alterations
the design
can be
D'Arcet and Thenard, who directed the works in the cupola of St. Genevieve, have composed the couch (laid over the plaister) with one part of wax and three parts of boiled oil, with
1
MM.
one-tenth of its weight of litharge. See the Memoir on the Employment of Oily Substances, published in the Annates de Chimie
ct
ON DISTEMPER GROUNDS.
1'l.y
may
the
more
oil.
in
how
therefore, completed
in oil
with more
facility
than
it
can possibly be
and
it is
in careful execution,
and management
and
it
is
easy to
make any
alterations that
may
be thought
requisite.
Should
oil
it
be
difficult
To prevent this
oil
should be
soon be
then flow
freely.
Prepared plaister of Paris does not allow of being finely temtherefore, in such cases it would be better to
;
brush over the back of the canvass with a couch of ground chalk
and weak
size.
226
may be
prevented
it
may be
desirable to repaint.
offers
This method
and
in
less subject to
change
for cloths
oil
primed
in the
ordinary
way
retain the
finally react
whilst on distemper
oil is
wood
if
the
laid
on a panel.
CHAPTER
VI.
ON THE PRESERVATION OF PICTURES, AND THE METHODS USED FOR RESTORING THEM.
I
have
air
and
oils,
and varnishes.
not be greatly
light
for
will
therefore pictures
fatty sub-
more or
less
dense in
where the
air is bad.
Hence
it is
obvious,
The
and
loses its
When
l6
-2S
this
PRESERVATION AND
goes so far as to injure instead of serving the
it
picture,
substi-
little difficulty if
the
composed of
mastic-
dissolved in oil of turpentine. But some artists having employed oily varnish, such as copal for instance,
it
becomes a
difficulty to
remove
it
yet in every
case, even
is
to be removed,
By
way, and
may soon be
completely removed.
much
frequently wiped
is
is
by
in the following
manner
take a
is
little
bag
of cotton in each
in the
hand
one of these
to be dipped
operation
to be
RESTORATION OF PICTURES.
the part to be deprived of
its
22!)
varnish
the spirituous
mixture
rapidly
:
is
oil.
Without
would be a danger of
;
it
has attacked
dis-
of
it
at
first,
strong,
To
when they
become dark by
time
is
rent
ready to
off
by the slightest
would seem as
if
cure.
destruction
may
appear, there
is
a method of saving
its
ground, and
230
laying
it
PRESERVATION AND
on a new canvass
11
:
the picture.
It is requisite to put a
new
the picture
when the
even
In
such cases
it
is
may
be
of course,
it will
new
of
it.
is
commenced by
and some-
may
times
tissue,
it is
to be
removed,
is
of the
first
there-
gauze paper
is
first
complete adhesion.
it will oil,
be proper
mixed with
little
spirits
of turpentine
ready to drop
off;
will
not adhere
to a greasy surface,
RESTORATION OF PICTURES.
well
231
The
best
employed
in this operation is
made
This mixture
flour,
is
preferred to that
made
of
is
wheaten
as
it
keeps
much
very-
and
little size
in
it.
fixed
the picture,
the
;
be
difficult,
should
it
be
sufficient,
;
in that case,
to moisten
it
with a
wet sponge
But
if
there
is
no
fine
file.
For the
method
is
to strain a
stretcher, to rub
stone,
ture after
is
all
inequalities
it
care to press
232
PRESERVATION AND
uneven
it
must
warm
all
the
fissures,
and
it
The advantage
of this operation
;
is
the iron
the picture
is
room
for
required
this
wet sponge.
In this operation, care must be taken that the
dampness
shall
this disadvantage
would be obviated, by
first
pasting
way on the
surface of
when
the paper
is
RESTORATION OF PICTURES.
233
is
requisite to paste
fine texture,
new sheets
part
shall
be so
laid
on, that
;
the middle
them,
it
rendered smooth.
If the canvass be but slightly injured,
it
may
be
stripes
of
be placed
even,
and allow
when
this
is
to be laid flat
upon a very
smooth
table,
squares,
;
which are
easily
removed with a
is
chisel
in this
way the
picture
gradually ap-
234
PRESERVATION AND
the
with a
sponge,
it
distemper ground
thus uncovered
it is
this
full
ground
is
also to be removed, as
commonly
of cracks
the re-lining
described.
is
is
only
damaged
in
some
is
danger of scaling
may
the pic-
ture,
bad parts
which
will
penetrate through
;
when the
size
is
has
set, all
that remains of
it
on the surface
to be removed,
and paper
is
to be pasted on the
iron
is
pressed over
it
under
drying
oil
should be combined
this
would render
It
oil
should com-
RESTORATION OF PICTURES.
235
When
deal
;
a panel
is split
it
or warped, the
remedy
is
which are
;
in
the cross
made
in
but they
as
or warping.
The removal
is
not
it
except that
in other
When
is
properly
cartooned, a groove
to be
made
in the surface of
is
inches in thickness
wall,
it is
easily separated
from the
and adheres
As
ture
rolled
on a
large cylinder, to be
is is
removed
then to be
an opera-
much
skill.
236
PRESERVATION AND
may be taken
off in the
way that
its
edges
will
When
a relined picture
is
to be placed in a
an
oily
mordent
it is
is
the picture
in
moment
is
The taking
it
off,
being completed,
now remains
up,
The
Church
is
stone,
resin
which
combined with
and wax.
See the
article,
Priming on Walls.
RESTORATION OF PICTURES.
For the
delicate
first
237
is
a very
operation, various
experienced
to be used
alkali
safely
employed
in
this
may be
latter,
very
much attenuated
in
its
:
with water.
Even the
used
much
mischief to pic-
tures
when very
dry,
it
lours, and,
aug-
The
better
way
to begin
is
by
;
oil
unto saturation
and
for this
oil is
oil,
but nut
even linseed
others
oil,
as
it
when exposed
oil
The
surplus of the
off.
1
For
this
purpose
oil
thickened by exposure
to the air
oil
has
little
of tur-
12
238
PRESERVATION AXD
may
safely
have seen
very corrosive
but
it
was
neutralized by being
of
oil,
which prevented
It is allowed to
no other
effect
than by merely
:
this is
This process
by ignorant persons.
even soap,
varnishes,
rancid,
will
The
off,
alkaline solution,
and
carry
in
particularly
become
as they will
stances.
When
much
with either
but the
fine
A tooth-
In the
commencement
of this article
it
has been
RESTORATION OF PICTURES.
239
shown that the varnish can be removed by a mixture of alcohol, spirits of turpentine, and
will also
oil.
This
it
removed by water
copal,
but
it
if
oily varnish,
such as
will
be very
it
difficult to
remove
For
this purpose,
must be rubbed
oil,
or even at
little
it.
When
which
it
the picture
is
cleaned completely,
it will
may have
filled
sustained.
The
holes, if any,
must be
up with
glue, or size,
and white
chalk,
brought even with the surface of the picture. Should the canvass be bare
in parts, this substance
must be
laid
on
it
thinly,
it,
and a
give
to
is
the impression
which
under
When
it
these
is
is
the
the
next consideration.
For
this
purpose
practice of the greater portion of the restorers, or " picture cleaners,'' 1 as they are sometimes called,
240
PRESERVATION AXD
This
is
hence
off at
it
it
over
is
will also
be removed.
think a better
mode
oil
on
will equally
oil is
the picture.
The
This
is
not a disadvantage,
because
oil
when dry
there-
same tone
exactly.
is
most
difficult to
cept by glazing,
But of
all
the accidents to be
met with
in the
in
The
:
the picture
RESTORATION OF PICTURES.
241
has only been painted a few years, and not thoroughly dry,
it is
parts together.
cient to
For
this
purpose
it will
be
suffi-
entirely,
and
will
lay the
dilate,
in
and
finally unite
disappear.
From
a picture
the above
it is
it is
run-
of the
no doubt,
but pre-
he should make
he spoiled them
if
he could
cases
for those
themselves for
many
years
in such
all
the difficulties.
They should
always cautiously proceed to try some of the unimportant parts of the picture, and adopt that process
of cleaning which they find
most
desirable.
242
CHAPTER
VII.
IN
The
on
who have
treated
their
this
have
felt,
that to
inspire
chapter "
in
which
not calculated
it.
"
parents or gene-
The
five central
ones
(i cinque
mczzani sono,
il
243
in
an essay
et
the
De Lumine
Colore.
This
manuscript was,
the library of
it
appears, about
fifty
years ago in
M. Von
who was
not
do
or
why
The
it
remains
properties
but
down some
rules of
harmony,
detail
on the harmony of
but
his
empirical.
harmony
in painting, establishes
;
but as
five
pallido,
il rosso, il
verde).
colours,
he means yellow
colours
1
for we cannot suppose that by pallido and what he has added upon the generating of
is
quite absurd.
I
it.
It
this treatise
was from the Canon Van Parys himself, that and he promised me that I should see
;
heard of
I have keep his
to
promise.
Fr en en Chromatic S cale
M M erime esj
.
RSP
Voiit-r
%L
THEORY OF COLOURING.
245
THEORY OF COLOURING.
Although painters usually have arranged on their
palettes
seem to know,
and blue)
(yellow, red,
find
United in
pairs, these
as their originals
red, gives the
is
mixed with
violet
;
orange
we pass
colour to another,
begin,
we return
to
we ought
to consider the
colours,
the
intervals
2i6
THEORY OF COLOURING.
if
at all visible.
It is
number
The
may be produced
is
in
this
manner.
easily will
;
experience
violet,
&c.
as
chromatic scale
is
com-
posed of
six
distinct
divisions,
namely, yellow,
may
direct the
He makes them
in-
which gives
Newton was,
circular
I believe,
the
first
from
certain affinities
exist
between
the
He conceived that
much
farther, and,
by analogy,
THEORY OF COLOURING.
spaces, similar to the
distinct
247
gamut
terms
in the
and
violet.
effected.
In
fact, so
product
it
is
then as
;
brilliant as
is
composed
is
colour
more
colours employed.
But
is
in the chromatic
circle
the arrangement
the union
of the three
is
compound
of two,
reciprocally
is
complementary.
opposed
;
by purple, which
248
THEORY OF COLOURING.
and yellow
yel-
in
the
phenomena
and discoloration takes place the moment they become united. 1 In the variety of colours
other,
to
each other. 2
is
Each colour
is
not
If a glass,
which
and both are pressed together, the pressure causes the appearance of various coloured circles in the air confined between those substances. These tints have their common centre in the
glass,
point of contact; and in proportion to the strength of the pressure will the number of circles increase. But they grow weaker as
they recede from the centre, until they gradually disappear. In examining these circles by looking through the glass,
still
they
different,
but the colours on each side are and are the complements of the preceding circles.
:
first ring,
same
ring,
: blue, white, yellow, and red orange viewed by transmission, produces the red and blue.
* When we look at a luminous point, through a double reflecting crystal, we perceive that one of the two images which pre-
sent themselves
is
same
place, this
moveable and on turning the crystal in the image follows the motion, and turns round the
;
THEORY OF COLOURING.
only susceptible of a degradation of tint in
bining with another colour, but
lighter or darker.
its
249
com-
may
also be
made
or intensity,
is
For
in proportion as
other image.
To
this
moving
fixed,
and which
With regard
it
is
a natural and
To
it
remark, that any ray of light which is reflected upon a crystal, and forms with it an angle of 35 25', does not comport with a direct
luminous ray
for
it
it
falls
upon a
and
it
divide in
certain position.
This ray
it
is
polarized
and the
qualities described
light.
may
serve to distinguish
Those peculiar properties are not the only ones that develop
polarized rays
j
for
and numerous shades of difference, which the natural rays never These colours develop themselves more especially when a show.
polarized ray traverses thin plates of certain crystals, such as mica,
To
it will
be sufficient to place
and then
to look at it with
an achromatized prism
;
and
it
is
complementals
is
for in su-
perceived in the
parts thus treated, at the same time that the rays close to
still
them
250
white
THEORY OF COLOURING.
;
proach to black.
we may
zone,
centre
of the
circular
them
all
the co-
their gradations.
But considered
in
an abstract
sense, these
that
if in
is
no
longer pure.
finest of
We
our whites
loured substance
gold which
metals.
is
But
we could obtain
red, yellow,
and
It must,
all
so lowered
down
is
as
There
therefore, only
down
to the
black shade.
THEORY OF COLOURING.
by those
brilliant
251
coloured bodies,
we should be
most
brilliant
As
knows how
of
all
But
if
a pure
priif
black
may
mitive colours
in
and
tints,
the
compound
white,
should approach to
in
proof that
colours, although
;
and we
might
fairly assert,
and
The chromatic
hues of colour.
tone, are
go-
but,
it
are
made
stronger.
To
explain this
more
clearly,
252
THEORY OF COLOURING.
move
it
into the
shade,
it will
With
binary mixtures
primitive
colours being
that
is
much more
Or,
brilliant
we
shall
may be
formed.
Having thus stated the theory of colouring, as founded upon the natural properties of colour I
;
shall
now endeavour
to deduce
from
it
the princi;
and by
them upon
Harmony,
awakens
in
this
THEORY OF COLOURING.
to every portion of the art
;
253
we
its
colouring
''scuro
;
is
chiaro
the
we
&c, which
it is
pro-
per, therefore,
to
species of harmony.
Musical harmony
is
strict
musical ear.
In painting, although the combination
colours
is
of its
this
were the
case, a picture
would be
some
in the tones
of the colours.
picture
is
''
when
it
2o4
THEORY OF COLOURING.
presents to our senses an arrangement of light, shade, and colours agreeable to the eye
is
it
;
and
it
tions.
But as we judge
definitively
of
harmony
at the
moment
is
Thus
the light
painful to us, as
we meet when we
:
it
on coming
agreeable,
it is
and we bear
it
very well,
are exposed
precisely in the
brilliant co-
there
they
our eyes
accompany the
is
rising
and the
will
setting sun
no comparison
tints,
and the
terrestrial materials of
our
pallettes.
THEORY OF COLOURING.
tints,
255
these will not
still
be sufficient in themselves to produce harmony; and the great object of the art, which is to give
pleasure to the mind, will not be attained
artist is
if
the
Harmony
in painting
is
an arrangement of positive
attract the eye,
and
tints,
which
and
fix
its
attention by
ajudiciomhi
managed
succession of repose and opposition. Powerful oppositions are so far from injuring
to
it
great animation
but
them
to
repose
made upon
it.
less bril-
or
less,
and
management
of
character,
soft
One
256
THEORY OF COLOURING.
the harmony of colour in the picture accord
;
make
in this point
some, even
failed,
of the great
for
it
painters,
have
occasionally
is
colours,
known
Rubens
them
in his
works, whatever
may be
for instance,
"the adoration
Would
such
effect, if in
we
In nature
we
species of harmony,
and many
also of discord
but
human
we
or looking at a number of persons ; motley dresses of gaudy colours strongly opposed to each other, reflecting the light which falls uniin
at a distance
This spectacle
offers
no point
THEORY OF COLOURING.
257
or the
tirely
arrangement of colours
it
must be en-
have the marvellous power of rendering harmonious and reducing to order the most discordant
colours.
affected in a different
manner by
lively
predominates.
The
it
ver-
milion or scarlet
is
unites
of the brightness
of the yellow.
'
Blue, the
most intense of
all
it
is
brilliant colours.
effect
upon the
lighter
it
is
made
258
THEORY OF COLOURING.
find,
Thus we
scale,
vivid
tints that
or lighter tone.
when
of a dark hue.
The
still
is
always
in
greatest
lustre
and
it is
this
effect
we
not
unfrequently see
draperies
of
To
give the
artists
they found that they could not obtain any additional brilliancy
in
works.
And
Some
THEORY OF COLOURING.
harmony
259
opposition tints
lours. If
by
this
term
it
to
say,
who were
the
first
But these
always pre-
amongst these
colours.
But
is
and when
Amongst
These
two colours do
in fact afford
260
THEORY OF COLOURING.
between a primary
compound
of
Gerard
de Lairesse, looked upon, and properly described the yellow and the violet colours, as harmonising
well together,
lours formed a
other.
The opposition
of yellow
and
violet is certainly
yet as
must of course be
considerable.
is
cer-
red
is
is
all
the colours
but this
plumage of
birds,
mother of
pearl,
&c. &c.
I consider it as
a part of
my duty to
notice these
THEORY OF COLOURING.
2G1
is
definitively
judge of
harmony
musical concords,
reliance
we should not
at all times,
because
or prejudices,
;
am
it is
men
of the Venetian
dis-
the
highest value
all
to
each other
but the
re-
artists
have not
and whenever
it
shall
be
own
relative
evident that he
essays
may
many barren
by making him,
commencement, compose a
will
only cost
him a few
262
THEORY OF COLOURING.
some
true
quire
ideas
and more
by long groping
1
the
dark recesses of
theoretic speculation.
Besides
this, it is
vitiate
them very
soon.
may
will
in
each of these he
in
To
him
it
would be
sufficient to set
upon
living
model
for
one
day
1
and
will
The formation
still
They would
filled
it
the scale
so that
all
the colours of
THEORY OF COLOURING.
all
263
But
in case of the
much may be
who have a
natural ten-
dency to exaggerate
tints generally,
and simply by
a pre-
very
may become
a good draughtsman
is
science of colouring
be acquired by study."
little
reflection,
is
very ill-founded,
in
we
closely ex-
respect to colours
in
and
if
we would
it
observe, that
is
always by that
to
if
264
THEORY OF COLOURING.
There
is
a letter of
"
it is
I should
leave
1
We
tages
shall
I feel that I shall become a colourist.''' now ascertain what practical advanthe following
ideas,
which
physical properties of
colours.
I shall, for
colours,
and most
:
render harmonious,
it
light blue
and we
will
suppose that
should be
made
Now,
scale,
we
is its
;
direct
also brilliant
and as
it
be impure, for
it
is
naturally bright
but
it
will still
be increased, because
it will
own
THEORY OF COLOURING.
265
this
choice
in
his
hands, perhaps
will
ment of
whence
which
It
effect
from
will result
will
is
clear, that
appear at some
up
like
court cards;
case where
it
will
therefore be judicious, in a
the
colours
cannot be modified by
a very
out of
harmony
much
intelligent
of the work.
From
these facts,
we may draw
this inference,
we
are
enabled to avoid
it
all
studied by those
who
aspire to
become
colourists.
266
THEORY OF COLOURING.
a great advantage, that we should
distri-
It is certainly
art,
by
may be
avoided,
artist to
add a happy
and shade.
''scuro exists
Chiaro
as
it
always accompanies
in nature,
and as
co-
the light,
its effects
therefore are so
combined with
when
is
It
is
therefore an
to give
them
;
full
managed
opposition
ists still
This
is
why
Raffael
is
never cited as
an authority
in colouring;
although we find in
The
display
charming
tints
in
the
lighter
parts but
12
THEORY OF COLOURING.
the colour of the flesh
is
267
true,
that
effects
but
that
much
more agreeable,
of supporting
it.
if
To
this
mode
of
managing chiaro
''scuro,
we
shall
We
strong shadows
but they
the
skill,
so to
dispose
that
its
would
figure
of a
woman
ground,
the most dazzling brightness of colour, yet that the brilliancy of the flesh tints would disappear so
completely, that she would not be of a higher tone
than a negress
in
;
its
proper
reflec-
n2
268
tions.
THEORY OF COLOURING.
Then we
shall find that,
will
although
it
is
in
not appear at
all
de-
number of
pictures,
which
it
it
is
made use
it
in fact
was
of a
brilliant light
tone
as
The
becomes
the skin
peries
is
warm
number
intention of giving
flesh tints
;
particular
brightness
to his
local
THEORY OF COLOURING.
colour
;
269
and
this is in fact,
At
the
first
view,
we do not
ment of
his colours,
believe,
that he placed
them
;
to his imagination
we
to
any thing
chance.
For example,
in
num-
and
especially those
detached from each other, alternating and opposing a strong coloured drapery to a light one, the
latter being again
a country where
by no Paul
in adopting
his object
was to
brilliant
but pro-
many
gone, he thought
n 3
270
THEORY OF COLOURING.
No
Rubens, the
of his
composition
as a
his
bunch of grapes
his
are constantly united in those situations, which are best adapted for giving to his groups a grand
relief,
and much of
it
flashing out
upon the
details
of the work.
are more
systematically contrived,
;
than those
of
Paul Veronese
the artifice
may
still
we do not the
mind, that
it
call to
artist
CHAPTER
VIII.
ON FRESCO.
Fresco
is
The name
is
derived from
the Italians,
who
call it
known
sure to the
air,
If a couch of finely-prepared
laid
it
upon
unites
cement.
The
In proof of
;"
its
The
first
means "
to paint
the other,
N 4
272
great durableness,
ON FRESCO.
many
but
much more
Besides,
we
colours
No doubt
the preservais
owing to
;
and
more
In
many
it
render
public edifices.
ON'
FRKSCO.
273
other objects.
From whatever
effect
it
may view a
fresco, the
the
same; because
The
blue, are
when
completion.
But
in
would not
but
it
might be
in
the interiors of
any
visible alteration,
even
in
There
racter
is
of fresco in
The
mony
to the pictures.
pallette
in extent or brilliancy,
some
fres-
274
ON FRESCO.
colourists. They hope to be able to show, to the
as
now time
operations of fresco.
As
ing
is
which
it
covers,
is
of course the
mode
of
too
much importance
to by the artist. Fortunately the composition of durable mortars, like those of the ancients, is not
difficult to
some
we
may
Now, if the wall upon which a fresco was to be painted did happen to be composed of smooth
stones,
; as the artist should then have to begin by roughing the surface, so as to allow the first couch of plaister to adhere firmly to it, that the work laid upon it might not detach itself from the wall.
The
of the best slacked lime with puzzolana, or granite sand, coarse enough to produce
a granular surface,
OX FRESCO.
capable of firmly holding the second coating
the latter, which should be smooth,
275
but
Dutch ware
or
&c. ; these materials, when ground, form with lime a white and excellent mortar, upon which
the colours will appear
greater transparency.
more
brilliant,
because of
its
We are told
or, at least,
if
be used in
its
native strength.
if
But
am
strongly
might be pre-
There
is
not any difference between lime which has been may have been slacked ten
Therefore, the great body of the lime beneath this crust further. preserves its strength for a great number of years, and is completely
fit
for use.
276
for several days,
ON FRESCO.
and at the moment of using
it,
to
beat
it
up
well,
The
is
M.
Vicat directs that the lime should be slacked with as small a quantity as possible of water, and that
only sufficient to prepare so
much
lime
as
may be
used
engineer,
lime,
be employed
quality,
must be stone
placed
in
is
of the
finest
and
the
a basin
to
not porous;
upon
this
water
in
and
in
may
readily circulate
this will
allow
them
compact mass of
it
neither must
it
be worked
up and beat about by the hoe and rake, as we sometimes see so improperly done, with respect to
the
common
lime mixtures.
In about twenty-four hours after the heat of the operation shall have subsided, this paste will have
acquired so firm a consistence that it cannot be detached from its basin without the aid of a pick.
ON FRESCO.
It is
277
this is
done by
means of heavy
wooden handles,
it
;
then to
one hundred parts of this tenacious and very substantial lime paste,
sand
is
to be
added
in the pro-
hundred and
;
fifty
to
one
but
if,
in
defiance of the
most vigorous
efforts,
is
and
ciently,
then a
little
water
;
may
for
gradually
it
lieved by those
pint too
much
of this mortar.
The
plaister
employed
air
Of
sufficient for
first
taking
Cennini
278
adds,
1
ON FRESCO.
when you are preparing
to give the first
and
leave
having tempered
in a
;
the surface
is
is
perfectly even
and when
ground
it
When
the
layer of plaister
is
is
to be traced
upon
it is
for
then
a guide
is
and as the
artist ad-
much ground
;
same day
this
Quando vuoi
lavorare in
muro
se le cal-
cina e ben grassa e fresca, ricbiede le due parti sabbione, la terza parti calcina. E intridi bene insieme con acqua e tanto ni intridi.
die
ti
duri 15 di o 20
il
di,
tanto che
lo'
il
n'esca
fuoco
ntonaco
clie fai.
Quando
muro, e
che non puo esser troppo bagnato e togli la calcina tua ben rimenata a cozzuola e smalta prima una volta o due Poi quando tanto cbe vegna piano lo' ntonaco sopra il muro.
bagna
lo bene,
prima a mente
di fare questo
un poco rosposo.
279
resist
light pressure
this is
the time to
mark the
outline of the
this
would indicate
of his car-
that the
artist,
having chalked so
much
toon
transfer,
the
chalk to the
;
surface,
and
by such a mode
operation of painting.
in
number
being confined to
not
deteriorate,
and which
From
such
as orpiment,
chromate of
lead,
made
from copper. 2
1
or pasteboard, formerly
strong paper,
for their first
sketches or designs.
2
Some
still
used
the
moderns
also
employ
cinnabar.
280
The
yellow
may
also
be used.
The
flesh
tints.
it
for
some days
of
lime water
it,
its brilliancy,
but
still it is
different degrees of
tints,
from
orange to
of iron,
is
The
latter,
made
of the tritoxide
it
can be made
The
blue
is
to a blue preparation
from
mode
of
of terra verte
The
article
article
on the
violet colours.
on Egyptian blue.
281
Of
was abundant
the black
earth commonly
known
is
lime,
to
had
is
styled
he assures
fine tints, is
Some
vessel,
it is
then washed
it
in
has subis
poured
days
is
the longer
will
be the
more quickness.
the air
is
to
the car-
calcination
282
The
forms
in-
but that
is
added
which, like blue, are so arid that they would separate quickly from plain water.
liquid
it
With
only this
aid.
San Giovanni, he
size
;
particularly states
is
used without
it
but
all
the colours
That
article is
283
worked
serve
readily without
in
them
a liquid state.
The
purpose
size
is
blood
itself, for
Any
of these
Some
painters
mix a
little
when
dry,
is also
insoluble
but
it
would be
size.
It
all
would, in
fact,
be tempered with
size.
This addition
will
also
See the
article
284
out diminishing
since
we know that
the
when
dry, insoluble.
article,
some
frescos, in their
colouring,
is
that I support
my
demonstration.
given directions for preparing a head, by commencing with the shadows, and then the half tints and
lights in succession, he adds
:
of the
San
Gio-
relief of
passed over
it all
more being
some touches
of
this is
a good method.
Others apply, at
flesh colour,
first,
shadows
285
This method
is
which produced
from
much more
last
thing
done, after
solid
laid
opaque vehicle.
The
first
couches of colour,
some
when
co-
loured waters.
find in
glazings,
il
viso
in
quella forma,
vanno cercando le somita e relievi del detto volto bene per ordine poi danno una rosetta ne' labri e nelle gotte cottale meluzina poi vanno sopra con un poco cTacquarella, cioe incarnazione, bene liquida e rimane colorito. Toccando poi sopra i rilievi, ed e buon modo. Alcuno campeggia il volto e incarnazione prima poi vanno ritrovando con un poco di verdaccio e incarnazione e rimane fatto. Questo e un modo di quelli che sanno poco dell*
: :
arte.
286
on
in
sufficiently full
The
application of this
it
glazing requires
some
caution to keep
water
I
it
contained
when
laid on.
am
ing
we must
that exists between the ancient frescos and those of our days.
latter,
It has
any difference
:
in the
if
the
do not think
it
management of the
1 The effects of the glazings may be seen in the valuable fragment of a painting by Luini, which is in the collection of Count
Sommariva.
287
Neither
is
more
relative to the
method
Even sup-
make
up
for the
And
am
who
succeed on their
first
at-
tempt
ORIGINAL OBSERVATIONS
IN
METHODS EMPLOYED
IN PAINTING,
HARMONY
IN COLOURING.
INTRODUCTION.
The
ingenious
and
intelligent
Author
of
the
out
the
the
French
School
of
painting
from attaining
it
is
quite
had
the
sound
and
commencement of
their
School of Painting;
it
of English
o2
292
art,
INTRODUCTION.
would not only be interesting to most of our
made
British public,
Having formed
this idea in
my mind,
sought the
ment
in such matters
is,
In every instance of
my
was favourable to
infor-
the plan
now
W.
B. Sarsfield Taylor.
CHAPTER
I.
All
persons
who
England, must be
suffiit
ciently
had made
To
it
those
will
the facts,
that
during
the
Italy have
known
in
it,
the art
o3
291
and
we
and
their
The
discovery
of
oil
painting,
for instance,
had
Van Eyck,
so early as a.d.
1410
and
man artist,
merit, which
we
still
correct drawing,
and more-
excelled the
oil
colouring of
llaffael,
as the latter
-
"
however, that w e
r
find, in
the collec-
tions
of our
antiquarian writers,
some accounts
caused
to
Henry
III.
be
painting,
and sculpture
(1216
1262).
Amongst
by some to
In the
a full-length por-
295
Richard
II.,
it is
centuries back,
still
Hampton
is
Court Palace, with one of Henry IV. and there another very curious portrait of Richard II. at
Wilton, in which the king
is
crown on
his head,
and
all
about him.
believed to be painted in
colours, but I
is
have
it
not the
it
is
or
what
now denominated
pencil,
full
The drawing
at the
is
good
it
is
marked
ground
The ornaments are carefully painted, and the gold is left in some places, to aid their effect.
This picture has been brought forward as one
existed
for
more than a
oil
century, namely,
that
painting in
was known
Van Eycks
o 4
but
it
appears
296
in the
Abhey
is
of Westminster
one of these
that saint, to
an altar-piece in
St. Blaise's
Chapel, representing
offering
whom
up prayers;
and the
this is painted
wall,
Edward
the Office of
Abbey; and in Records, which was the Chapter House of the Abbey,
still
ill
drawn
the character
of each
is
mild
which
is
left
uncovered
is still
;
the
are
golden surface
still
bright,
quite distinct
damp
upon
artificial
preparation.
In the same way were the walls of the splendid Royal Chapel of St. Stephen's painted, with divers histories, mostly scriptural.
Amongst
tion of the
others was the Transfiguration, under the great west window; the altar-piece at the east end, represented the AdoraShepherds and the wise men offering; the miracles
In fact
it
And, it is most worthy of remark, those subjects, and likewise the single figures of Kings, Queens, and Saints, were painted on a ground of red lead and
which was laid on the plain surface of the wall this was of purbeck marble, tooled very fine, but not polished. Mr. Adam Lee, who was many years clerk of the works here, under the Board of works, and is still in that capacity to the Horse Guards,
oil,
:
&c, had a great number of them copied, with the whole of the architectural arrangements in this splendid chapel, the painted
Chamber, the old House of Lords,
of John signing
in
Magna
Mr.
Lee
also
drawings in perspective,
297
Edward
of
and
and exhibited
the effect
appeared that could be, for looking through the lens, the pictures Mr. Lee has them still at his house in quite like realities.
Palace-yard.
New
opinion positively as
In Smith's antiquities of Westminster, that author states his to the pictures being painted in oil and
varnish, for he had the colours analyzed, and found that they were with them. The all mineral colours, but no animal gluten mixed
Edward III., 1348. The late Sir John Soane, and Mr.
amined some of the apartments of the ancient Palace twenty which years ago, and saw many ancient paintings on the walls, with oils they were strongly of opinion must have been painted and varnishes. Mr. Lee has also four very ancient pictures on
panel
(I
is
Prophets Isaiah, Jeremiah, and Jonah. They are firmly painted, and adhere strongly to their ground the colours are still good though not bright, and are unimpaired, except where lime wash has gone over the edges of the panels the vehicle in which they
;
are laid,
is
probably a mixture of
to
oil
if not, it
would be desirable
i
know what
I.,
it
can be.
Hen. III. " The King to his treasurer and chamberlain : pay from our treasures to Odo the hundred and seventeen one Son, Goldsmith, and Edward his by shillings, and ten pence, for oil, varnish, and colours bought them, and for pictures made in the Queen's chamber at WestClose Rolls, Walpole, Vol.
23,
Holy
Trinity,
(May
25,)
in the
to the
feast of St.
same
o5
298
of which
is
It is in
&c, and
George combating
This piece
but
he believes
it
monarch
at the
places.
and other
demand, and
it
was
windows
Even
find but
Kensington, (now at
at St. James's,
Hampton
his
another
is
and that of
299
College,
Cambridge.
There
is
also
Eton
it is
11 It certainly does not satisfy tunate " Jane Shore. but the ideas we have of her personal attractions,
more
disappointment.
11
At
this period,
and
fatal
elegant arts.
Henry VII. (14851509) was too much of an much attention to this branch of portraits of him art, though there are two or three
economist to give
at the royal palaces.
rious
Walpole says of
laid
this penu-
enjoy,his
thought that
his death.
he reigned as an
11
On
06
300
its
period the
viz.
lived
and died at
known.
in various collections.
difficult, and barren path of the art of painting, for a space of one hundred and eighty years, during which time it is clear
we now come
to
may
in
England: although
296,-of ornamental paintings on the walls and the windows, in which the subjects are taken from scripture history ; and these paintings often display correctness of expression, and propriety of action, though generally hard in the outline, and not showing much skill in the mechanism of art.
It is therefore with the reign of
stated at page
Henry VIII.,
(1509-1547)
that the
first
establishment of paint-
This monarch,
left
whom
had
monarchy'
301
He
soon
and he invited
;
Raffael, Titian,
by
One
which
this
king
felt for
it
a picture of the rough state of manners at that time, proving also what a different class of persons our present race of nobility is
composed
fact with
of, as compared with those of that age. There are two or three versions of this fact, as there are of every which I am acquainted. These, however, do not differ
It appears that Holbein was engaged on a day painting a portrait of one of the queen's ladies in when a nobleman, who wished to see how he painted, came to his door, and would not take any denial from
the serjeant
ment.
then attempted
and
hurt.
came to see what was going on and the Lord push into the room, which Holbein resisted, Lordship was tumbled down the stairs and The painter, on seeing this mishap, was equally prompt in
latter
to
;
The
conceiving what his next step should be he retired and made his privately to the king, whose pardon he craved and the king acceded to his prayer, provided he told him the truth this Hol-
way
In a few minutes more the noble antawas announced. He had come to demand that
forfeit for this insult to his
;
dignity.
told him to give a true statement of the facts in doing however, he suppressed a material one with which the king was acquainted, and his majesty merely told Holbein to ask the
this,
Henry
lord's
pardon
trifling a
but his lordship would not be satisfied with so punishment, but demanded the execution of the painter.
;
;
who
told
him
that, as
he had suppressed a
302
engagements
in their
own
love of
his
good
no
of good taste
field
of cloth of gold,"
is
given as the
ment
in the
King
it
might be more
just, perhaps,
But, however
that
may be
decided,
it is
when
by good taste or
fact,
not,
and with
sufficient opulence
he, in
said,
and
"
with me.
lord, you have not now to do with Holbein, but Whatever punishment you may contrive against him
My
by way
of revenge, shall
most assuredly be
inflicted
on yourself.
lords
And remember,
lords."
that
can,
whenever
please,
make seven
out of seven
Holbein appears
incident.
to
many
years after
He
Mary's accession.
plague in London, in 1554, the year of Queen He must have been, at that time, according to
303
man's ingenuity
service, conse;
arise to society
and, as
the Hon.
marks,
" on
Horace Walpole,
justly
and
wittily re-
Henry had
John
Hombard
of Ghent.
still
Some
are
at
Hampton
Court.
Holbein
to that society
Edward
its
incorporation to
"poverty,"
at
the
Easterlings
;
hall,
Steel-yard,
304
A
to be
still
met with
he was at
first
Sir Antonio
workmen.
During the reigns of Edward VI. (1547 and Mary (1553
1553)
state of reli-
and the
under the
artist
late reign
were
employed.
One English
appeared at this
with
that
"he
305
for other-
late period
some think
remains
still
still
amongst us
whether
its
dregs do or do not
of dispute
;
exist in Britain,
may be a matter
but
is
most abundantly.
Had
that
Duke
of
Somerset,
is
John
of
Padua,
the arts
con-
make some
progress
De
chero,
Vroom, De
;
Critz,
&c, we
two or three
natives of talent
306
and N. Holland.
I.,
James
no more
(1603
1625,) perhaps
fortunately, did
They,
But Peter
who got
some employment.
From
it
may be
inferred
that, although
yet
it
had been
for
some
time
in
and processes
Charles
I.
(1625
1653) was
the
first
English
and
prompted him, not only to purchase a great number of valuable pictures, but also to invite to his
court, such artists as Titian, Rubens,
and Van-
307
to es-
King intended
in
tablish a
England,
always confer on nations, where they are duly protected and encouraged.
The
civil
war, and
its
calamitous consequences
from the
artists,
soil
of England,
own
more
rational
and indeed of
which
clear,
historical evidences
was
strangely deficient.
The
desolating
and munificent
308
patronage
society,
garded
and so
fatal
influence,
was
full
make
always
still
it
make
kept
alive in
England.
men
already mentioned,
whom
whom Vandyke
until his
own
Lane, a.
d.,
1646.
a native of England
doubtful, but
whose
infe-
Dobbs
is
Charles's
309
The
last five
Englishmen of
fine talents,
but not
much encouraged
unfortunate patron.
Charles II. (1660
1685) may
be said to have
fluttering, gaudy,
style, into
made
fashionable in England
fligacy, ignorance,
in that reign,
who
the good
germs of
reign,
and
this
artists of great
lives in
ob-
and want.
and
It
perhaps would
man
Verrio,
who was
a Neapolitan adventurer
and,
who
at the present
310
day, would only rank in mechanic art, as a respectable sign painter seven thousand
fluttering
And
this
enormous
pictorial charlatan,
and
his
myrmidons, (whom he
brought over to
assist
The King
also
em-
ployed
Lely,
who was a
clever
foreign artist
and some of
two W. Vaninvited from
whom were
veldes,
father
and
son,
whom
he
besides paying
them
court
men
of conRiley,
siderable
for
instance,
Hoskins,
Greenhill, Fuller,
and Davenport.
(1685 to
James
II.,
who
nevertheless, were
311
merit.
both
in
number and
Amongst them
foreign
of
the
best
whom
were
G.
&c.
William
III.,
courager of the
Kneller,
who
And
so
in this
fine arts
in Britain.
The
style
period,
and
stiff
was a
loose,
disorderly kind of
his school,
and
carried to
most
man-
nered
style,
closely imitated
by the
312
his careless
manthan
higher
when
in
and
finishing.
During
Ricci, Jervas,
an imitator of
so fantastic,
made the
These
nerate
when
neglected.
These
intellectual pursuits
require
good encouragement
;
to elicit the
powers of
genius
And when
apartments at Hampton
of Shrewsbury (lord chamto
&c,
the
Duke
Sebastian Ricci
ii-ould not
said,
He
pay
the foreigner,
to
when a
native quite as
capable
could be found
do the business.
And
this sentence is
313
Muse
of English history
had
and
more precious
first
still,
because
it
bold
and
at this juncture,
Wren
Havino-
London churches,
and accomplished
to his
gentleman,
so
much honour
&c,
I.)
without even a
merely, as
it
appears, to
make room
r
for
an obscure
314
intriguer of the
name
of Benson, whose
memory
1
has,
by his own
acts, con-
sits
!)
On
And,
Note
A. Phillips
is
preferred to wit."
in the Dunciad,
book
iii.
"Wm. Benson,
surveyor of
King George I., he gave in a report to the Lords that their house, and the painted chamber adjoining, were in immediate danger of falling. Whereupon the lords met in committee to appoint some other place to sit in, while the house should be taken down. But it being proposed to cause some
buildings to his Majesty
other builders
dition.
first to
inspect
it,
they found
it
"
The
lords
upon
this
to the
king
In
been architect
to the
crown
for
above
fifty
years,
and lived
2
to finish
it,
The cause
;
the time
slightest
qualification.
The same
315
the inci-
We have seen
native painters
George
I.
its
who painted
in
England
Closterman,
Dahl.
first
Vander Meulan, Monamy, Hemskirk, Kerseboom, Van Huysum, Le Piper, Watteau, Schalken,
Richter,
Swede,
Vandiest,
and
were
But
most
admired
duced
works deserving the attention of posterity than any previous portion of time equal
fewer
to
it
in duration since
Henry VIII.
p2
816
arts
ture.
The reason
of this improvement
is
easily
explained.
Her
majesty,
Queen
Caroline,
was a
her
called,
if
not into
by
liberal
encourage-
was
at that auspicious
of the land were the amiable but worthy rivals of the best practical architects of the age, as their works
still testify.
The Earls
of
Pembroke and
all,
Burling-
ton came
little,
or perhaps not at
behind Kent,
deserved.
The
But
judicious
encouragement
to
foreign
artists did
which had
317
whom
artist
When this
who
artist, Riley,
and
of this country.
arts
This fact
will
show how
far the
had
fallen in Britain,
through neglect.
Hudson
was a
pupil,
to Richardson.
loose
and
flippant
mannerism which
his father-in-law,
who was
him
Hudson adopted a
style
It
more agreeable
to
was under
this artist
By
this time
;
Sir
James
Thornhill was no
more (1745)
Sir
W.
Chambers,
in architecture
Romney, West,
artists,
Gainsborough,
began to
find that,
though native
painters, they
Incorporated Society of Artists" was formed; and the united pictorial efforts of the English artists
was, for the
first
318
from
this
be dated.
The
(1760) commenced
A.D. 1768,
this
monarch em-
own
authority
title
of
Architecture.'''
and conse-
is
from
;
its
commencement
it
to
the
and
will readily
be con-
ceded by
all
persons
who
arts,
are
well acquainted
seventy years
is
partial,
The second
room
in
Spring
Gardens, where
the Royal
Academy
319
George
III.
may justly
The
England."
With him
;
there
it
this
monarch's
honourable
position
titles
them,
;
were always
intentional,
always pre-
meditated
culti-
is
well
and,
from
he derived additional
view he
and
irrefragable
arguments
in favour of the
received,
to
on
this
contend
some
those
who
bound
to encourage the
p 4
320
commerce from
is
would terminate
in a vulgar display of
barbarous, as
we now
whom we
hold com-
esti-
in
and states
Europe
The people
;
of
Rhodes
likewise a
;
we now
and architecthe
less
seats of transcendent
good
taste,
were more or
321
as were, in fact,
all
iEgean
sea,
or the
its
munificent protec-
mend
all
With
and
so,
But
which,
it
doubtless
aiding his
was
this valuable
information
command,
to
aid
them
in rivalling those of
He
;
could not do
all
that
he wished to
but he
made
a decided commencement
was
The kind
intentions of the
time,
friendly intercourse
322
produced a power-
moral
effect
who was
When
was during
fine collection
made by
This circum-
new
West, and also Sir William Beechey, with each of whom this monarch was in the habit of holding familiar conversations on
all
subjects
arts,
prosperous advancement.
2
The Royal
Institution
Its
opened
in January, 1806.
members
men
of talent,
remained
in
unmerited obscurity.
323
relative to the
life,
and being
good intentions
for
ably neutralized.
"
The Society
was
Suffolk
Street)
and
its
many
artists of
many
years of his
life
were
and
it
must
this
which
new
Academy
ill
at Trafalgar Square,
May, 1837.
members of that
institution
The commencement
of her majesty
r 6
Queen Vic-
324
Her Majesty
visits
the
Academy
of
is
at its opening,
acknowledged
high
talents.
Her
Majesty
and has
and practice
by eminent
artists.
Having brought
facts
evidence
will
be sufficient to
yet be scepsoil,
cli-
who may
My
object
is
this country
It has
Her most
The Queen in Council ;" W. Wyon, R.A., medallist, has executed some beautiful medallions of the Queen and Sir Francis Chantrey, R.A., is now engaged in modelling a splendid bust other Majesty.
also by E. A. Chalon, R.A.
;
325
authentic records, that our native talent in the arts was not only unaided, but neglected and
despised,
with one or two exceptions, until about the commencement of the period mentioned. To expect,
therefore, that the genius of the country should develop itself under circumstances so cruelly adverse to the expansion of intellectual power,
would
be about as reasonable as to expect that grapes, figs, and melons should grow and ripen unsheltered
in
known to most of our readers, that one of the grandest principles in physical science is, " That
there cannot be any effect without an adequate cause ;" and yet, with respect to the arts, it does appear, as if this universal principle was not to be applied in England. And therefore it is that we meet with persons now and then who dogmatically assert, that " the arts have not made any thing
like
well, in
the
first place,
arts
at pre-eminence, and then read the history of the in their own country ; and if
they do not
326
abandon
must be lament-
The
and
we
think,
may
no other
school can
show
improvement.
In Italy, with
and
well as private
required
full
Therefore, to
make the
to the utmost,
same
sort of
ment
is
good
it
for nothing.
perhaps
would be
difficult
So
far, however,
as private patronage
is
concerned,
there certainly is, and has been for some years, a great
deal of encouragement bestowed
1
Possibly there
to
whom
applicable
"
in 1520
Da
Vinci and
the
first at
Rome.
327
and
in
known
It is not,
encouragement
lofty
so
in the
more
and
intel-
Here
it
no public en-
and the
Low
Countries.
And
until our
government,
employed
for which,
in the production of
find a
of,
purchaser.
or
James Barry's
pictorial art.
which he lived
fate has had a most chilling effect on British His great genius was far in advance of the age in and though he had a sufficient pittance to exist
;
upon, yet neglect and harsh treatment drove him into a confirmed state of misanthropy, if not monomania.
328
would expect
what has
been
said, as I
if
understand, by
"
Now,
in
its
is
Indeed
it is
too broad in
;
way
it
another
form
of
that
pseudo-philosophy, which
effects,
and at other
But if these
artists
gentlemen
will
it
in art with
But
until satisfactory
men of the foreign schools, it is to be hoped that the common good sense of our artists will restrain
them from a course of action, which
all
is
opposed to
and
intellectual
economy.
"
The demand
is
the cause,"
329
derstanding, in
the intercourses of
take care
The
&c, were
built without
art.
If
prejudice,
which
away
in the
manner
" Those great artists were not employed because they had produced great works, but they produced great works because they were employed to produce them. Their fame rests upon exploits of
1
art, which true patronage inspired them to conceive, encouraged them to undertake, and enabled them to accomplish." Letter of Sir M. A. Shee to Lord J. Russell.
33<>
works of
art, or to
reward our
artists.
One
at our
a person named
himself
in
Waagen
has
lately
been indulging
some witticisms
joke."
It
is
much
men
men
And
whilst a
German, or a French
critic,
331
the
English
critic
often
his
treats
with
1
harshness,
of
countrymen.
it
This
is
a thing to
be deplored, because
is
discouraging,
just.
and therefore
towards them,
manly
severity, except
its
brazen
modest merit.
Yet
it
is
to
upon
wound the
feelings of
men,
many
cannot be aware.
SECTION
II.
have
1
who came
Low
Countries
332
METHODS OF PAINTING
princi-
and
and the
It is not improbable
amongst the
But
himself.
The
harmony of
him
at
The
his methods,
effect, colour,
for
in
an age when
and
effect
were
in their
highest state of
estimation.
The
will
this
written at
him
in his
future practice.
333
The Leda,
in the
is
in
dead-coloured white and black, with ultramarine the shadows ; and over that is scumbled, thinly
The
lights are
mellow
is
but mellow.
The
picture
painted on a panel, in
broad
and
large
manner,
but
finished
like
lost
in
'
The Ecce
Homo
of Correggio
entirely
in the
lost
in
same
the
at
palace.
Adonis of Titian in the Colonna Palace is dead-coloured white, with the muscles marked bold.
The
light
;
colour
the sha-
dows, in the lighter parts, of a faint purple least they were so at first. That purple
to be occasioned
hueat
1
hue seems
Probably a dark ground, which Titian frequently employed and which, in showing itself through a white preparation, as' stated, would take the tint alluded to. Such a ground is afterwards mentioned as having been employed by G. Poussin.
334
METHODS OF PAINTING
;
the sha-
dows
thin of colour.
left.
Perhaps
little
dark ground
" In respect to painting the flesh tints, after it such as has been finished with very strong colours, very ultramarine and carmine, pass white over it, I believe it will have a very wonthin with oil.
derful effect.
"
Or
it
over
Sir Joshua,
" All these modes of preparation were afterwards employed by who generally made out his shapes, as well as the light
and shadow
and white, of his heads, in little more than blue black lake and white only), or lake blue black and white (sometimes of colour ; body good a picture, using always, in this stage of the when dry, he scumbled yellow ochre and white, or umber
over
this,
and on that and white, sometimes orpiment and white, very thin other parts of retouched his features, and tinted the cheeks and decided head which might require it, with brighter and more
;
the
colour
a slight glaze,
little
work. " Sometimes, instead of scumbling, he employed glazing with red over his white prelead or vermilion, which, being passed thinly colour of his head paration, gave considerable power to the local
orpiment, he painted thinly with ultramarine and white, and with carmine, and or yellow ochre, and white, tinting in parts finishing with a thin glaze of asphaltum.
on
this
335
" Poussin's landscapes in the Verossi Palace are painted on a dark ground, made of Indian red
and black.
"
Make
first
time, on
Guerchino, as well as the Venetian school, are made with little colour, but much oil the Vene:
tians
seem
to be
made
only of a drying
oil,
com-
oil.
first glaze to dry, and then painted with orpiment and white, ultramarine and white, and
underneath
over
it.
to
but always allowing the colour appear more or less through whatever he passed
;
" In very
many
first
cleansed, the
of his pictures, which have been injudiciously preparation is all that now remains and in
;
some cases
use of perish-
for
"
The cracking
of his pictures
chiefly occasioned
by painting
it was thoroughly dry, or by using materials on the surface of his pictures, which dried harder than those employed underneath.
" Dark colours, and especially those which are transparent, will generally open in large cracks when laid on very thickly, or em-
much vehicle ; and this was frequently the case with Sir Joshua's pictures, whose dark back grounds, hair, and
ployed with
draperies, were often painted with a considerable
body of colour.
10
336
METHODS OF PAINTING
they
have
manner of
all
Rembrandt's,
pic-
mezzothito, occasioned
tures
some dark
oil
colour."
cember, 1755,
will
made use
of,
and of
on
his
SIR
JOSHUA REYNOLDS WORKING COLOURS, WITH THE ORDER IN WHICH THEY WERE ARRANGED ON HIS PALLETTE.
"
flesh, black,
and varnish.
"
To
first
and white,
ditto.
ditto
and white,
"
The
first sitting,
pallette
complexion as
you can."
"
337
clean in paintcolours,
when they
are once
laid just
and
if it
in their
proper places at
tar-
lost,
when
mixed to excess.
" For
it
may
is
the
but
if
colours be too
oil will
the
brush, the
the performance
will
consequence.
r>
THE STUDENT.
" Never give the least touch with your pencil, until
in
your
sitter,
338
METHODS OF PATNTING
both together.
" In beautiful faces, keep the whole circumfer-
was a picture
this
will
in
more easy
to be copied.
whatever
it
may
be, as
lines.
light
and
shadow, than by
"
ful finishing
parts, as prac-
facility of
hand
ON PAINTING A HEAD.
" Let those parts, which turn or retire from the
eye,
less
distinguished,
" Let
all
glaze
them
till
339
sitter's
on the
" Avoid the chalk, the brick dust, and the charcoal,
and think on a
pearl,
Take care
sweep or sway,
back ground.
too coarse.
" Never
which make
parallels, triangles,
&c.
"
The
most enlightened,
seen.
"
Keep broad
lights
also prin-
cipal lights
and shadows.
there
is
"
Where
it is
ac-
its
it
gives firmness to
a serpentine
line, in
comparison, appears
and tottering.
pupils are better taught by those
"
The younger
who
a2
340
METHODS OF PAINTING
;
above themselves
and from
The
painter
who knows
principles,
may
" ON
to
draw such
may
amused with
trifles,
chiefly.
who
advanced
in their
&c,
in the picture
but not
im-
benefit through
"
this is having
information at the
first
hand,
at
the fountain-
341
not
Rules were
first
made from
first
pictures
The
compilers of rules
it is
an
artist sees,
fine
or that
ill
effect,
proceeds
no picture, ever so
indifferent,
but he
may
look
at to his profit.
'
The manner
and
ral,
especially those
virtu,
is
studying
that, instead of
why they are esteemed, they only inquire the subject of the picture,
-painter,
the history of a
statue,
tican,
Some Englishmen, while I was in the Vacame there and spent above six hours in writing down whatever the antiquary detailed to
down.
;
them
Our readers will please to recollect that this just, but by no means complimentary, description of English travellers, was written in the interval between 1749 and 1752, the period during which Mr. Reynolds was in Italy but ninety years must make a great change
1
;
in the information
civilized
nation.
That
q3
342
METHODS OF PAINTING
Sir
As
in
and principles
first
consideration.
They
rate observation,
and
and
this
operation by a
mind
like his, at
once endowed
it is
hoped long
will
admire.
To
dissent, therefore,
down by
that
ourselves,
on the most
now have much more resemblance, we should manners of our present race of travellers, than Hogarth's dresses of the same period have to our present
costume.
343
and
originally
most
effective pictures.
Our
from
his notes
purpose
Now
it is
quite evisort,
fa-
which
is
was a
of white lead
ing, or
and he
chiefly
used
it
in either glazfirst
painting.
in use
The
from the
but the
appear to
;
for
they
else
with ochres
and other
terra verte
upon them, as
is
not a
which we see
some ancient
for these
q 4
844
METHODS OF PAINTING
when combined.
Speaking
M. Merimee
is
enters,
chromate of
''
and Naples
yellow.
" For, 1 he continues, " the sulphur in combination with the arsenic, having less affinity with this
lets
And
orpithis
a note M. Merimee adds, " It is probable that, after some time, the
;
And
fallen
for,
this
is
unhappily, he
fatal
to these
Joshua
preparation of
thickly with a
wax
at one time
and he
laid it
on
good deal of
in large
vehicle, which,
after
cracks.
The same
345
before
it
was quite
dry,
Orpiment
school
is
;
is
still
avoided,
will
Asphaltum
attractive,
''scuro,
chiaro
even
It
is
hoped that
agency at
works
will
its
With
at present,
for
some time
many
M.
tried his new speculations in colour and on panels or canvasses, which he kept by him At the sale of his things these "trial beards" came into the possession of Sir T. Lawrence and they were sold afterwards at Mr. Christie's: some of the tints were discoloured. 2 White or cream-coloured grounds, slightly absorbent, either on panel or cloth, have lately come much into use. This is a
1
Sir
Joshua Reynolds
vehicle, painted
many
years.
great improvement.
These grounds never devour the colour, as dark grounds do in time, but aid the brilliancy of the tint, by
oil,
of tone by
Q 5
346
METHODS OF PAINTING
original version, of
which seve-
But
much
and encouraged
its
in-
may be open
it
to
all
who
practise
painting
and that
it
book," as
artists,
many young-
The leading
a rich
tures,
full
rent
upon these
&c,
solid
;
colour
is
and so on,
obtained
So much
is
this the
time.
347
given to
is
And
added to these
qualities, a school
;
but such
artists are
and
some of
in
The German
in the higher
walks of art.
But these
governments, and
they
are
they
will in
time return
its
value
one hundred-
the culture
as
But
we,
in
much
to expect, that
feeling,
men
and manly
should devote
best
a 6
348
although these works might afterwards be looked upon with the greatest admiration, and become a fortune to their future possessors.
society;
The truth
is,
that painters
must
live,
;
as well,
and when-
down
who
hold
the
and
its
revenues in their
CHAPTER
II.
This
them the
ing,
continent.
In the diagram of
mitive colours,
M.
and
duly
their
decided binary
in their natural
compounds, are
prismatic order
;
arranged
and
it is
most
an original one, as that author does not refer to any previous authority relative to its inis
ment
vention.
on the theory of
in
colours,
of
harmony
1766;
350
ON THE PRINCIPLES OF
and
comprehensive
treatise
on
these portions
factorily
and
demonstrated by a circular
is
given,
and other
all
specimens of
its
deduced
and colour.
so very scarce, that
it
;
but by good
for-
tune,
and no small
exertions, I
original
cisely
MS. under my
Phillips,
inspection \ and
pre-
what Mr.
it
R. A., described
to be.
Were
it is
proba-
Mr.
Phillips fortunately
in
it
it,
and finding
about
1827.
We
have
stated
is
that
M.
and
MerimeVs arrangement
his deductions
of colours
correct,
It is in the
hands of
his grandson,
Mr.
L. Harris.
HARMONY
in in
IN COLOURING.
Sol
is
no deficiency
eighth lecture " on colouring," &c Having despaired of ever getting a sight of Mr.
Phillips's
Harris's
work,
Phillips, to
make some
the
professor at
once kindly assented; and our readers will have an opportunity of observing the two
now
systems,
of their merits.
Mr.
their
obtain
hues from
and
lose
of
it.
Connect
this proposition
viz.
always alike
and you
will
tone of darkness,
pervades
all
whatever
may be
its
degree,
We may arrive at the same conclusion by a more technical mode of proceeding and for the
;
'
purpose of explaining
it,
lay before
you the
inge-
many years
of
title
"The
352
ON THE PRINCIPLES OF
In the circular portion
is,
faintest tint
and those
tints are
marked
grees each.
By
it
appears,
we employ,
is
is
productive of
a total privation
of
all colour,
Now,
in their
if
perfect shade,
their union
must be protone, in a
ductive of the
Never-
in
one point,
viz. that
each
is
a negation of
colour.
HARMONY
IN COLOURING.
353
I
is
before stated,
alike in tone,
viz.
and
subjected to
truth of imitation of an
is,
when
for reflec-
being
light
through
another
medium, but produces another colour upon the surface of the body where it reaches and its grada;
tions to the
it
cannot reach
" Thus
much
any single
colour and
its varieties, in
is
Our
next object
appears,
from numberless
is
human eye
so constituted
derives plea-
it
its
view together,
fication,
and that
354
ON THE PRINCIPLES OF
in the eye itself,
unknown
For
let
remain present to
:
that
is,
yellow
if
orange, blue
and
if
green, red
and
them
will
be
I conceive,
we
We
universally
in
When
HARMONY
IN COLOURING.
355
to them. This arrangement, then, seems the most proper for adoption by the painter, as producing the most pleasing concord of colours; and we may safely
most acceptable to
our eyes.
It
may
according
:
still
it
seen the rainbow or in the chromatic scale, yet act in accordance with each other upon the
in
harmony. Consonance, or harmony of hue, consists in those colours being brought together, which, though they may not be placed exactly in the regular order
enters into those combinations for which in colouring we have no other name than
eye,
and pro-
it,
but rather
pleasure.
356
ON THE PRINCIPLES OF
in this portion of haris first,
mony
said,
of colouring.
There
as I have just
them
a ray of
It
is
and
is
it
may
fairly
by
it
This
we
The
yellow
And
most per-
and
in their
extreme intensity
in
black,
will do,
HARMONY
IN COLOURING.
357
Another point
requisite to produce
it
harmony
is,
be of the same
explain this I
scale.
To
fifth
at its
and a green at the twentieth, or a purple extreme degree of power, and a yellow at the
not require
fifteenth, it will
their
but
if
you take
have thus endeavoured to explain to you the nature of the second principle of harmony in paintI
ing
there
:
is
still
is,
it
complete
that
all
colours being
same
its
illumination,
On
able accordance of effect in the colouring of a picture which we term " harmony," viz. in
the order
of their arrangement
in the
employment of those
is,
equal in their
12
858
scale of
ON THE PRINCIPLES OF
hue or of
tint
;
colour; a principle, in
my
view of
it,
opposed to
in
Contrast
signifies
opposition
or
discordancy
among
it,
things,
and
it
employing
and confining
now
has
commonly employed
no
specific
relative to colouring.
It
variety.
I
effects
all
their
varieties,
and you
will find in
Harris,
all
The
colours
other, are
HARMONY
S:c..
IN COLOURING.
359
It is the
and
further
compounds
such contrast
will
The
principles,
man
* their
unity in
There being too large a portion of yellow in combination with the red and the blue employed, to produce the effect of a perfect
1
ray of light.
2
To
give the
tint,
mind
and
meaning attached
to the
terms hue,
Mr. Phillips defines a hue to be the that which distinguishes one from
blue
their
combinations.
its
tint
any
And
to its faintest degree. tone he would attach only to the effect produced by the
it
extreme intensity
pro-
360
ON THE PRINCIPLES OF
of arrangement and of hue, with contrast
harmony
and
reflection, to enrich
These regulations govern throughout every portion of the scale of colours, from their faintest to
their deepest tint,
sky,
those employed on
still
stronger colours to which the portrait or the historical painter resorts, or the
tive hues,
more
directly primi-
Phillips,
my
readers
harmony of
colour-
as
practically in the
This work
is,
(Mr.
in
on painting,)
who wishes
to be guided by the
art,
most sound
principles of the
in invention, drawing, or
HARMONY
IN COLOURING.
361
and chiaro
''scuro
1 ,
or effect.
Of
the exact
it
is
difficult to
convey a
To
requires no translating.
light
and shade"
basis.
It
means
of shadow.
CONCLUSION.
Having
we cannot
We
feel
we closed
this
at this
art, without giving the names of as many as we can collect moment of the real admirers and promoters of the arts in Britain. Some of those estimable and enlightened noblemen and
English
arts
but their
all
memories
will ever
those the
who value
Amongst
:
whose
de Tabley (the
the Earl of
Dukes of Sutherland, and Buckingham Lord first who collected the works of native painters),
(his lordship
;
bequeath-
Earl Mulgrave,
Lord Monson, Walter Fawkes, Esq., of Farnely Hall (who made the first great collection of water colour drawings), the Rev.
Hollwell Carr (who bequeathed to the nation pictures worth
25,000).
there are
forgotten.
many
but These are a few the memory just furnishes other names dear to the arts, which cannot be
;
We
are
patrons,
most fortunate still to have worthy successors to those whose loss the arts must deplore who are to be seen
;
CONCLUSION.
36o
may
not be aware of
the fact,
acquainted
originated
Sir T.
Barnard,
and the
late
Sir G.
M. A.
Shee, P. R. A.
The
those
president in
gentlemen,
drew up the
plan,
which the
after considerable
delay,
de-
engaged
in
a te-
The plan
alluded to
we have seen
we
think
it
and
its
in various
modes
proper eminence.
Need
it
Dukes of Sutherland, Devonshire, and Bedford; the Marquesses of Lansdowne and Westminster Earls Aberdeen, Essex, Normanton and Aylesford Lords F. Egerton and Northwick Sir T.
; ; ;
W. Ridley Colborne Messrs. T. H. and Hope, Samuel Rogers, C. B. Wall, M.P., Joseph Neeld, M.P., W. Wells, J. W. Thompson, Robert Vernon, Esq., &c. &c. &c. All these noblemen and gentlemen are directors or members of
Baring, Sir R. Peel, N.
;
H.
P.
R 2
364
CONCLUSION.
and
it
is
us,
that
we cannot
room
in
all
that
can be done
in
this case,
is
The
first class to
and to
The second
subjects
class,
mance
The
subjects of a
the
subject must
come
Subjects of the
first
class, to
be chosen by the
life,
and no picture to
CONCLUSION.
365
The The
first prize
;
if
;
on a smaller
no picture of
this class to
Wolfe," by West.
Of
2nd,
1000/.
unrestricted as to the
number of
figures
being
intended to embrace
pencil, of
all
smaller
than
by
Poussin.
First prize in this class, 750/.
3rd, 300/.
;
2nd, 500/.
and
candidates of the
prize.
class,
r3
366
CONCLUSION.
who
shall
The
nation
tion to
prize pictures to
;
palaces, or places of
public worship
two months
a com-
Academy
examine
all
To
sident
Institution.
;
at
the end of the third year the whole, with the interest, to
be applied to
can*)'
effect.
carried into
to arouse
;
genius
erroneous
He
dued with an indomitable moral courage, and constancy in the promotion of those high interests, so
dear to civilization
:
CONCLUSION.
vulgar clamour of party
spirit,
367
and despise the
We
are
far,
'
in every
whether
general literature
achievement,
we
to
none, and
superior to
many
nations.
Previous
it
to
17C2-71,
appears as he
French, Italian,
in
commenda-
own
lume
to
its
The
case
is
now
in
this respect
There have been two large editions of the " Anecdotes" published since that time, the last is Dallawy's; also Edwards's book on the same subject. The admirable courses of lectures alluded
to, at the Royal Academy, by Sir Joshua Reynolds, Barry, Opie, West, Fuseli, and Sir M. A. Shee's Poem on Art, Mr. Northcote's and Mr. A. Cunningham's life of Reynolds, Mr. Beechey's edition
of Reynolds's works,
Taylor's, the firm
excellent work,
Mr. Sydney
and successful advocate for the preservation of the Ladye Chapel, St. Alban's Abbey, and above twenty of the
handsomest of our
"
city churches,
York Minster," which had been wantonly doomed to destruction, Mr. Offley's work on art, &c. &c. The works of these gentlemen have in some degree vindicated the cause of the arts
and of
artists from the mass of ignorance and misapprehension, by which the public mind was long overshadowed with respect
368
CONCLUSION,
should
still exist,
as to the national
it
is
;
and
we may be
our
and
we must beg
leave
still
to maintain on
Amongst
arts, are
two
have been
established within
One
:
is
denominated
Society"
called
(35,
Lincoln's -inn-fields)
the
other
is
'The
Institute of Architecture,""
and has
its sittings at
Brook-street, Grosvenor-square.
a charter of incorporation
are self-supported.
"
Somerset House.
This
;
is
supported by grants
object
is
its
to give in-
classes
of artisans
and
mechanics.
to the real state
and
it
is
hoped that
their
stimulate our
men
of litera-
same kind and true feeling upon the fine arts of their own country, as the same valuable class do in France, Germany, and other continental nations.
C'ONCLUSION.
36.9
There has
a
;
certain
sum
these funds,
Every member,
for each
guinea subscribed,
is
the work
by the
The
facilities tor
demy
in
establishment,
the
Antique School,
purposes.
the Living
Model School,
for
similar
mitted
and have the privilege of studying for ten years. The Painting School is for the more advanced students in this school
;
they are instructed in copying some of the best pictures of the different schools, by which they are enabled to acquire a correct know-
good schools of
given
art.
these are
arc on
students.
The courses
The
professors
now
:
are
Mr. Wilkins
sent
;
vacant at pre-
delivered regularly by
Mr. Green, the professor. Every second year three prizes (gold medals) are given
one
V,~0
CONCLUSION.
in
ture.
each of the higher schools of drawing, sculpture, and architecOut of the gold medal men one is selected to be sent to
and each
is
sup-
When
number
of silver medals,
not exceeding
class, viz.
:
from the
life
group, and
models of an antique figure or group, and for architectural drawings of some one of our public buildings and in the intermediate years, five silver medals are given. The lectures and
:
premiums are provided for entirely out of the funds of the Royal Academy. There are some other schools of instruction, but not of so complete a character as those of the Royal Academy. Mr. Sass is proprietor of one of these for elementary instruction in the principles
There is, likewise, the Living Model Academy, in Upper St. Martin's-lane, where the study of the antique and the living moThis is an indedels is constantly carried on in the evenings.
pendent
society,
;
Temple Bar
which was formed about seventeen years ago, near and numbered amongst its members some of the
Its
and its discipline similar to that of the Royal Academy. There are, or were, also two or three places of study, termed " Rustic Academies," and " Drapery Schools;" but they do not
appear to get
much encouragement,
Nothing
fine in
objects of study
there
is
and there
great danger of the feeling for good colour being injured is no chance of even a tolerable knowledge of drawing
being acquired in these studios. higher views of human nature and action than the low Dutch
schools
;
CONCLUSION'.
The
affection
371
we bear to the arts obliges us to point out those very erroneous modes of study; these are not only our opinions, but also those of the ablest artists of the British school. It was not by these modes of study that the artists now conspicuous in the British school acquired that
refined taste, which raised
them
to the
aspirants for professional distinction will find the best examples of talent, and social
qualities,
they stand, whether in painting, sculpture, or architecture every one of these departments, the young
: in
to imitate
and
acquire.
Let the
therefore, eschew discontent, and follow with patient industry and good feeling, their laborious avocation, as the surest
pupils,
Besides the exhibition at the Royal Academy, there are two others at the British Institution, Pall Mall; one in the earlier part
of the spring, for
new
is
paintings.
street,
There
pictures, and one in the summer for old also the British Artists' Gallery in Suffolk;
new
lias
in April for three months and the old and societies of Water Colour Painters; each of these societies an annual exhibition, which is well attended. The National Gallery, at Trafalgar-square, is open
which opens
gratuitously
to the public
on the four
first
and
exhibition at the British Institution, artists are allowed to copy the pictures under certain regulations.
at
the
summer
Having now ottered to the British public the above facts and circumstances, connected with the arts, in a compendious form, some of which lie scattered over the pages of
numerous volumes!
the best
his
produced
for
the
first
time, from
sources
of information;
the Author
respectfully
submits
THE END.
LONDON
GILBERT
&
ST.
%3-e?q 55-/
S20</
#'
MERIMEE
ON
OIL
PAINTING