History and Methods of Ancient & Modern Painting, Volume 1

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Dutton, 1914 - Painting
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Page 43 - And when these days were expired, the king made a feast unto all the people that were present in Shushan the palace, both unto great and small, seven days, in the court of the garden of the king's palace ; where were white, green, and blue hangings, fastened with cords of fine linen and purple to silver rings and pillars of marble: the beds were of gold and silver, upon a pavement of red, and blue, and white, and black marble.
Page 43 - And they gave them drink in vessels of gold, (the vessels being diverse one from another,) and royal wine in abundance,, according to the state of the king.
Page 238 - The King to his treasurer and chamberlains. Pay from our treasury to Odo the goldsmith and Edward his son one hundred and seventeen shillings and ten-pence for oil, varnish, and colours bought, and for pictures executed in the Queen's Chamber at Westminster...
Page 42 - Ethiopia, over an hundred and seven and twenty provinces :) that in those days, when the king Ahasuerus sat on the throne of his kingdom, which was in Shushan the palace, in the third year of his reign, he made a feast unto all his princes and his servants ; the power of Persia and Media, the nobles and princes of the provinces, being before him...
Page 235 - Walnut oil is prepared like that of almonds, either by pounding or pressing the nuts, or by throwing them, after they have been bruised, into boiling water. The (medicinal) uses are the same : but it has a use besides these, being employed by gilders or encaustic painters; for it dries, and preserves gildings and encaustic paintings for a long time.
Page 239 - Materials for a History of Oil Painting." made public their manner of oil painting by means of pigment ground, as near as we know, in linseed oil.* Occasionally we hear a complaint that the pigments made nowadays are not...
Page 234 - ... others of all that he had tried. Having boiled these oils therefore with other mixtures, he thus obtained the varnish which he, or rather all the painters of the world, had so long desired. He made experiments with many other substances, but finally decided that mixing the colours with these oils, gave a degree of firmness to the work which not only secured it against all injury from water when once dried, but also imparted so much life to the colours, that they exhibited a sufficient lustre...
Page 233 - ... it to a successful issue, he gave it the varnish and set it to dry in the sun, as is the custom. But 'whether, because the heat was too violent, or that the wood was badly joined, or insufficiently seasoned, the picture gave way at the joinings, opening in a very deplorable manner. Thereupon Giovanni, perceiving the mischief done to his work by the heat of the sun, determined to proceed in such a manner that the same thing should never again injure his work in like manner ; and as he was no less...
Page 191 - Treatment of Yellow. He [Vandyck] makes use of orpiment, which is the finest yellow that is to be found ; but it dries very slowly, and, when mixed ,with other colours, it destroys them. In order to make it dry, a little ground glass should be added to it. In making use of it, it should be applied by itself; the drapery (for which alone it is fit) having been prepared with other yellows. Upon these, when dry, the lights should be painted with orpiment : your work will then be in the highest degree...
Page 234 - Accordingly, after having made many experiments on substances, pure and mixed, he finally discovered that linseed oil and oil of nuts dried more readily than any others of all that he had tried. Having boiled these oils therefore with other mixtures, he thus obtained the varnish which he, or rather all the painters of the world, had so long desired.

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