Materials for a History of Oil Painting (Paperback)

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1847 Excerpt: ... vary according to the nature as well as the quantity of the colour; the (oil) varnish, as will be seen, was so thick that it could only be added in small quantities to some tints. The resinous materials are sandarac, mastic, and "gloriat" or turpentine. They are described as forming, with oil, three separate compositions; and it may be inferred that each was to be mixed with the colours according to the lightness or darkness of the colour and the varnish...." hie merke dis varwen sol man alle gar wol riben mit dem oli und ze so sol man under ieglich varwe drie troph virnis riben und tu denn ie die varw sunder in ein rein geschirr," &e. The missing word "hindrest" (effaced or illegible in the MS.) fortunately occurs in a parallel passage, before given (p. 137.), describing a gold size: "Und wenn dis alles wol geriben ist so rib ze hindrest in die varwe ein halb nuschal vol virnis," &c. It appears that this manuscript came originally from a monastery. The compiler, probably a monk, practised the healing art and painting, and, as an amateur designer, was not likely to exceed the dimensions to which the best artists in Germany and Flanders commonly restricted themselves. His figures being small, the quantity of colour and of varnish mixed in each tint would be minute in proportion. In a description of a drying oil communicated to De Mayerne by a Flemish painter (17th century) we read: "Laissez rasseoir et guardez pour en mesler une goutte ou deux sur la palette avec vos eouleurs broyees."--MS. p. 96. "Here I will teach how to make a good varnish of three materials--a good and superior varnish out of each of the materials separately. In the first place take 1 lb. of sandarac or of mastic, whichever ...