The Art of Fresco Painting: As Practised by the Old Italian and Spanish Masters, with a Preliminary Inquiry Into the Nature of the Colours Used in Fresco Painting, with Observation and Notes

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C. Gilpin, 1846 - Mural painting and decoration - 134 pages
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Page xxix - The elites of iron may be made to appear either purplish, or inclining to the scarlet, according to the manner in which the calcination is performed. If the matter is perfectly deprived of its phlogiston, and subjected to an intense fire, it always turns out red : but the mixture of a small quantity of inflammable matter gives it a purplish cast.
Page xxxvii - ... by the great Italian masters at the period of the revival of the arts in Italy. They had, indeed, the advantage over them in two colours, the Vestorian or Egyptian azure, and the Tyrian or marine purple. The azure, of which the excellence is proved by its duration for seventeen hundred years, may be easily and cheaply made ; I find that fifteen parts by weight of carbonate of soda, twenty parts of powdered opaque flints, and three parts of copper filings strongly heated together for two hours,...
Page 25 - ... into another, until it is all covered as well as the nature of the work will permit. But mind that if you would have your work appear very brilliant, be careful to keep each tint of colour in its place, except that with skill you soften one delicately into the other.
Page liv - ... you wish to hasten the process, and have the white very good, when the cakes are dry, grind them on your slab with water, and then make them again into cakes, and dry them as before. Do this twice, and you will see how perfectly white they will become. This white must be ground thoroughly with water. It is good for working in fresco, that is, on walls, without tempera ; and without this colour you can do nothing, — I mean, you cannot paint flesh, or make tints of the other colours which are...
Page 30 - The author of this invention had certainly a very happy idea, considering that, in the cartoons, we can see the effect of the whole painting, and that they may be corrected and drawn upon until they are approved of, which cannot be done afterwards to the picture itself.
Page xxiv - Blood-stone is a very hard, compact variety of hematite iron ore, which, when reduced to a suitable form, fixed into a handle, and well polished, forms the best description of burnisher for producing a high lustre on gilt coat-buttons, which is performed in the turning-lathe by the Birmingham manufacturers. The gold on china ware is burnished by its means. Burnishers are likewise formed of agate and flint; the former substance is preferred by bookbinders, and the latter for gilding on wood, as picture-frames,...
Page 31 - ... one which, to my thinking, Vasari rightly condemns in the following words :—• " Many of our artists are very expert in other branches of the art, namely, in oil and distemper painting, but do not succeed in this because it is indeed the most manly, the most certain, and the most durable of methods, and by age it continually acquires beauty and harmony in an infinitely greater degree than any of the others. This kind of painting cleans itself in the air, is proof against water, and always...
Page 31 - The picture must be painted on the lime while it is wet, and the work must not be left until all that is intended to be done that day is finished. Because if the painting be long in hand, a certain thin crust forms on the lime as well from the heat as from the cold, the wind and the frost, which tarnishes and spots all the picture. And therefore the wall which is painted...
Page liii - Cennirii'8 blacks would on examination prove to be browns. Pure black should never be admitted on wall or canvas, for the simple reason that it hardly exists in any department of nature which can come within the sphere of imitation. In vegetable nature we have heard it stated that it is only to be found in the flower of the kidney-bean. De Caudolle or Mr.
Page xi - artificial pigments never do well in fresco, nor can any art make them last long without changing'; and adds later 'you may leave to foolish painters those secrets of theirs, which no one envies them, of using vermilions and fine lakes; because, ... in the long run, their pictures become ugly daubs'.

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