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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..7be9733 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #69846 (https://www.gutenberg.org/ebooks/69846) diff --git a/old/69846-0.txt b/old/69846-0.txt deleted file mode 100644 index fc38546..0000000 --- a/old/69846-0.txt +++ /dev/null @@ -1,2118 +0,0 @@ -The Project Gutenberg eBook of Encaustic, by J. H. Müntz - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Encaustic - Or, Count Caylus's method of painting in the manner of the - ancients. To which is added a sure and easy method for fixing of - crayons - -Author: J. H. Müntz - -Release Date: January 20, 2023 [eBook #69846] - -Language: English - -Produced by: Charlene Taylor, Krista Zaleski and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The - Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK ENCAUSTIC *** - - - - - - -[Illustration] - - ENCAUSTIC - - PAINTING. - - [Illustration] - - - - - ENCAUSTIC: - - OR, - - Count CAYLUS’S - - METHOD of PAINTING - - In the MANNER of the ANCIENTS. - - To which is added - - A sure and easy METHOD for Fixing of - CRAYONS. - - By J. H. MÜNTZ. - - [Illustration] - - LONDON: Printed for the AUTHOR; and - A. WEBLEY, at the BIBLE and CROWN near - CHANCERY LANE, HOLBORN, 1760. - - - - -[Illustration] - - - - -TO THE - -RIGHT HONOURABLE - -Richard Lord Edgcumbe, - -Controller of his MAJESTY’S Household. - - -My LORD, - -I Should be afraid to offer you the following Treatise if I could -not flatter myself with the hope that its intrinsic Merit, and the -Intention it was writ in, would in your noble and generous Mind -counterbalance the Defects and Improprieties of Language, of which, as -almost unavoidable to a Foreigner, it must of course be guilty of. - -The subject I present you with is known to you long ago; you saw the -first Essays and Experiments in Encaustic; You was pleased to approve -of them, and to express some Satisfaction at the least Picture -executed in this manner. With what greater Advantage could I usher -this new Invention into the World, than dedicating it to You; to make -it known that the GREATEST PATRON of Arts, and the best Judge of the -Merits of Painting approved of it?--Count CAYLUS invented it; under the -Sanction of your Lordship’s Name I offer it to the Public, and with a -grateful Sense for all the Favours and Kindness You have at all Times -shewn towards me. - - I am, my Lord, - - your Lordship’s - - most obedient - - and most obliged - - humble Servant, - - J. H. MÜNTZ. - - - - -ENCAUSTIC: - -OR, - -METHOD of PAINTING - -In the Manner of the ANCIENTS. - - -A relation of my proceedings, to reduce this singular invention into -a regular system agreeable to reason, and practical in itself, would -be tedious and superfluous: To enter upon the process without giving -the reader some little account of the matter, would be improper. As -something is required to introduce the reader, and as the books -I must refer to are not in every body’s possession, I shall in -_lieu of introduction_, insert the whole as laid before the Royal -Society,--which is as follows. - - -EXTRACT of a LETTER[1] - -From the Abbé MAZEAS, F. R. S. - -_Concerning an ancient Method of Painting. Revived by Count_ CAYLUS. - - Count CAYLUS, a member of the Academy of Inscriptions, - had undertaken to explain an obscure passage in PLINY the - naturalist. This author (whom I have not now before me) says in - some place of his works, that “the ancients painted with burnt - wax”[2] and we have it from tradition, that pictures of this - kind were very durable. - - This was the passage, the count undertook to clear up, in - trying all the different ways that are possible to paint in - wax; and after many experiments, he hit upon a very simple - method, of which he made a secret, in order to excite the - curiosity of the public. - - The several artists who were desirous of knowing by what means - the count came to make this discovery, made several attempts - themselves; but in a great number of trials, only two are worth - mentioning. - - The first was to melt wax and oil of turpentine together, and - use it for mixing the colours. But this method does not at - all explain PLINY’S meaning; because wax is not burnt in this - way of managing it: and besides, this method has two defects; - the oil of turpentine dries too fast, and does not allow the - painter sufficient time to blend and unite his colours. - - The second method is very ingenious, and seems to come up - to PLINY’S notion very well; it is as follows; the wax is - melted with strong lixivium of salt of tartar, and with this - the colours are ground. When the picture is finished, it - is gradually put to the fire, which increases the heat by - degrees; the wax melts, swells, and is bloated up upon the - picture; then the picture is removed gradually from the fire, - and the colours do not at all appear to have been disordered; - the colours then become unalterable by the action of the fire, - and even spirit of wine has been burnt upon them without doing - them the least harm. - - However, the following is the Count de CAYLUS’S method, which - is much more simple; according to which the head of Minerva was - painted, which was so much admired by all the connoisseurs. - - _First._ The cloth or wood designed for the picture is waxed - over, by only rubbing it simply with a piece of bees-wax. - - _Secondly._ The colours are mixed up with common water; but as - these colours will not adhere to the wax, the whole picture is - to be first rubbed over with Spanish chalk, or whitening, and - then the colours are used. - - _Thirdly._ When the picture is dry, it is put near the fire, - whereby the wax melts, and absorbs all the colours. - - It must be allowed, that nothing can be more simple than this - method; and it is thought, that this kind of painting is - capable of withstanding the injuries of the weather, and last - longer than painting in oil; which I will not answer for. - - The effect produced by these colours upon wax is very singular; - nor can one have any notion of it without seeing it. The - colours have not that natural varnish or shining, that they - acquire with oil; but you are capable of seeing the picture in - any light, or in whatsoever situation you place it; in short - there can be no false glare or light upon the picture for the - spectators: the colours are secured, are firm, and will bear - washing; and have a property, which I look upon as the most - important of any, which is, that they have smoaked this picture - in places subject to foul vapours, and to smoke in chimnies; - and then by being exposed to the dew, it became as clean as if - it had been but just painted. - -These are all the contents of the letter, laid before the Royal -Society by a member of that learned body, who accompanied it with a -series of very acute and learned observations, which, with an extensive -knowledge, shew an inclination to prove that the count’s method could -not be the encaustic of the ancients, and that _encausto pingendi_ -could be nothing else but enameling.---- - - * * * * * - -It is neither my business nor intention to enter into discussions; it -would be too difficult a task to prove that the count’s invention comes -up to PLINY’S meaning; no certain evidence can be brought neither for -nor against it. Any discovery that tends towards improvement of arts -and sciences is valuable; that the count’s invention is of this kind, -will appear to every unprejudiced mind. - -Therefore it matters not if the ancients did so or not. - -But, to give my opinion only----the numberless experiments I made to -bring the new encaustic into a regular system--the repeated trials to -explain PLINY’S meaning any other way that would answer the general -ends of painting, &c. induce me to believe that _encausto pingendi_ -of the ancients could not be enameling, but must have been some -manner of painting very near of kin to that which is the subject of -this treatise. Besides the clear and expressive words of our ancient -author--_Ceris pingere ac picturam inurere_--and where he speaks of -their ship painting--_resolutis igni ceris penicilio utendi_--carry a -silent proof with them, that the Latin verb _urere_ ought not to be -understood in so fierce a degree as enameling requires.[3] - -In both the above cited passages _cera_ is in the plural number; and -for this very reason I believe it can mean nothing else but bees-wax -simple, or compounded with other ingredients capable to sympathise -therewith. - -It would be ridiculous to suppose the Latin tongue so defective in -PLINY’S time, as not to afford two distinct names for two things so -opposite as enameling and ship painting are. - -I cannot conceive what good enamel would or could do to their ships, -without undergoing the operation of the fire after being painted. Nor -can I form any idea of a Roman enameled first-rate man of war. - -The most probable reason, for PLINY’S not giving a better account of -particulars may be, that he knowing nothing at all of the matter, used -the term of art then in vogue; or was imposed upon by artists who did -not chuse to part with the secret of their art. - -Instances of this kind we have every day.----Arts and trades abound -with jargon and mystical names, which, if taken or explained literally, -would often prove but little analogous to their subject. Writers that -pay no regard to that, and without farther scrutiny speak and relate -what they are told, must of course be unintelligible. Hence it comes -that most of our dictionaries on arts and sciences, and the greatest -number of books on painting, are so perplexing; and in many a point -rival PLINY in obscurity. - -To write upon a subject and unfold its mystery, one ought to be -practically acquainted with it; a superficial drawing is not enough; to -teach others how to go to work, the section is wanted. - -If all books upon arts and sciences, manufactures and mechanics, had -been or could be written by the respective professors thereof, things -would appear in another light; we should, perhaps, not have the finest -language in those performances; but we do not want that, plain truth -and common sense is all that is required; if a guide leads us the right -way, we need not mind his dress. - -I shall make no apology for this performance of mine: if the contents -do not speak for themselves, my abilities as a writer would but weakly -support them, only as new inventions are frequently condemned for no -other reason but because they are new; it becomes me to acquaint the -public, that I should never have gone so far as to publish this system, -if I had not been convinced of its merit by experience and practice; I -made many and various experiments (as will be mentioned in the sequel) -to ascertain its stability; and having painted several pictures of -different sizes, I can answer for its practicability. In short, it -is a manner of painting susceptible of all the boldness, freedom and -delicacy of any other whatsoever; you may leave off and cherish your -work at pleasure, you cannot fatigue your colours, you are not subject -to that inconvenience attending oil painting, viz. of setting one’s -picture by to dry, &c. - -You will have all the effects and sweetness of painting in oil, and -the colours will not be liable to fade and change; no damp can affect -it, no corrosive will hurt it; nor can the colours crack and fall in -shivers from off the canvas. - -Let no-body think me too positive, or intoxicated with my own notions, -before they have gone through the whole treatise, and made a few -experiments. I advance facts, and not conjectures only. - -It is not my intention to quarrel or depreciate oil painting, nor -will I attempt to deny its true merit; therefore hope it will not -be considered as a crime to propose a method that will equal its -perfections, and surpass it for duration and stability of colours. I -tell artists what I know, they may do what they judge proper. Though -I bestow encomiums upon my subject it is not with a design to impose; -I am not self-conceited, or foolish enough to think or believe that -Rynolds or Ransey, Scott or Lambert, &c. &c. will take up at once and -prefer my new system to that they practised for many years with success -and applause--they, and every body else, may try; a trifling expence, -and a few idle hours will afford experiments by which they will know -if what I advance will really be an advantage to their works and -themselves. And how far it will answer, either whole or in part, the -general ends of painting, one single sketch will be enough to judge by; -in arts, one experience is worth a thousand conjectures. - -In the prosecution of my system, oil-colours came always in for a part -of the experiment, in opposition to those fixed with wax, in order to -judge better and with more precision of their variation. By this it -happened that I often painted oil-colours over a waxed ground; which -colours always appeared brighter and cleaner than the very same painted -over an oil-cloth; at least I fancied that dead colouring in water -colours and finishing in oil, was an experiment worth trying. For this -purpose (as portrait painting is not my province) I pitched upon a head -of Sir Godfrey Kneller, a gentleman and friend had sent me to copy -small in oil; accordingly I dead coloured it in water colours and fixed -them with wax, and afterwards finished it in oil-colours, not only to -my satisfaction and surprize, but every body’s else that saw it; the -brightness and transparency of its colours is not to be conceived. I -copied the same head again in oil-colours only, and with all imaginable -care and attention, but the colouring of the latter looked dull in -opposition to the other[4]; to give reasons for this incident is more -than I can do; I shall give a few conjectures, and conjectures only, -upon it, under the article of experiments. - -If I should not gain the approbation and good will of the oil painting -faculty, for a few hints: I am sure those artists who profess painting -in crayons will be beholden to me for what I shall communicate to -them--a method to fix crayons or pastelle. - -Every body knows the beauties and pleasing effects of those paintings -and their perishable qualities so well, that to enlarge upon is -needless to bestow great encomiums upon my secret, which is so closely -connected with encaustic for the pencil, and whose merit has already -been mentioned, would be superfluous; the process and experiments I -am now going to unfold will be of more weight than all my reasonings -previous thereto. - -To make the whole familiar and easy to all capacities, I thought it -convenient to lay down the whole penciling system under five different -articles or periods, according as they succeed each other in the -execution; and to keep the thread of the proceeding uninterrupted, I -shall make a few observations upon every article in particular, and -there give and explain the different methods that may be practised for -the same end, together with my reason, and why I deviated in some parts -from Count CAYLUS’S system. - -The operations for painting with crayons will be treated and explained -separately, and upon the same plan. Lastly, the experiments will come -in to illustrate both, and verify what I advance. - - - - -ART. I. - -_Preparation of the cloth for painting in Encaustic._ - - -Take any sort of clean linen cloth whose texture is pretty close, -soft and even, stretch it upon a straining frame, as you would do an -oil cloth, lay it upon a smooth table, the side your are to paint on -downwards, then with a piece of common bees- or virgin-wax rub it over -and over, till you perceive a good quantity of the wax adhere to the -cloth, in equal proportion over the whole.[5] - -Your cloth thus waxed is ready to paint upon if it be fine; if it is -coarse, turn it, and with a pumice stone gently rub over the side which -is to receive the colours, to take off all the knots and unevenness -that might obstruct the free flowing of your pencil. - -If you want to paint a picture of any determined size, provide a -straining frame, whose inner circumference is equal to the height and -width required; that is to say, you must have two frames, the one to -work and finish your picture upon, the other whereon the picture is -to go and remain when finished. The first must be of such height and -width, as to contain between its inner edges cloth enough to cover the -second. No part of the cloth you paint over ought to touch the wood of -the frame, if it did the wood would imbibe part of the wax, when the -picture is brought near the fire, and leave those parts imperfect. - - - - -ART. II. - -_Of the colours and their preparation._ - - -All colours used in oil painting are fit for this manner, and no -others. There are a few that ought to be omitted; for reason see the -list of colours. - -Grind all your colours very fine with simple water, allot to every -particular colour a distinct vessel, such as gallipots, pans, &c. From -your colours so ground, compose all the different principal tints, as -the nature of your intended work shall require. - -But, as most of the colours acquire a deeper hue when moistened, and -some deeper still when fixed with wax, it will be necessary, to prevent -perplexity in the execution, to have a guide for retouching, either -when the picture is finished and dry, before the operation of the fire, -or after it is fixed; for this purpose you may, before you go to work, -use the following expedient. - -Take two slips of cloth about a foot long, and three or four inches -wide, wax them as before mentioned, then upon the one slip paint -of every one of your entire colours[6] about an inch high over the -whole width of the cloth, and with your tints already composed do -the same upon the other piece of cloth, according to their order and -degradation;[7] mark every tint with a number, such as 1, 2, 3, &c. -write down upon a paper every number, and what it is composed of. This -done and your colours so applied dry, cut your cloth across all the -tints from top to bottom in two equal parts; bring one half of each -near the fire, and by melting the wax fix them, the other two halves -you keep as they are unfixed. - -By rejoining and comparing them together, you may judge what strength -every tint will acquire, and by their reciprocal references you will -be enabled to alter or imitate, deepen or heighten with certainty, any -tint, either before or after the colours are fixed. - -In painting be not sparing; the greater body of colours you employ, -the better and brighter your work will appear; you may give greater -freedom to your pencil, blend and sweeten your colours better than in -any other way of painting. - - - - -ART. III. - -_How to paint over or alter any part before the picture has been near -the fire._ - - -If the parts of the picture you want to retouch are large and the -colouring dry, take a large soft hair pencil, and with water gently -moisten those places, or the whole picture if you please, and repaint -till your eye is satisfied. You might paint over, or alter any part -without moistening, but on a first trial you would not so well see -what you are about. While the picture is wet it appears very near -what it will be when fixed; when it is dry it looks like a weak dead -colouring in oil. You will see enough to judge of the general effect, -but none of the tenderer half tints will appear discernable enough to -judge of them with precision. In large pictures where the cloth will be -required stronger, a picture is kept wet with great ease and security, -by moistening it on the back with a large brush as often as there is -occasion, for the water will soon soak through the texture and take -hold of the colours; there is no danger of disturbing them on the other -side with the action of the brush, by reason of the substance of the -cloth. - - - - -ART. IV. - -_To fix the colours by melting the wax._ - - -When your picture is finished and dry, have a good clear fire of -sea-coals,[8] approach your picture with the painted side towards it, -at about two feet distance, let it grow warm by gentle degrees, always -approaching nearer, till within a foot distance from the grate, but -never closer, holding your picture perpendicularly or a little inclined -as you shall find necessary. If the picture is large do one half first, -then the other; there is not the least difficulty for any size. - -When you perceive by the hue and shining of the painted surface that -all is perfectly absorbed; then remove it gradually from the fire as -you advanced it, and your picture will be done. - -If you see any place defective for want of a sufficient quantity of -wax,[9] put a little finely scraped wax on the back of that place, then -bring only a red hot poker, or some such thing towards it, the wax will -immediately settle in its place. If there are many parts so defective, -put scrapings of wax there, and bring the whole picture before the fire -as above mentioned. There is no danger in bringing the picture to -the fire as often as required, provided you never give it too great -a degree of heat; if you do, the wax will raise in bubbles upon the -surface, and your picture will look rough and uneven. - -Advance your picture never too hasty, nor retire it too quickly; if -you do the former, the sudden action of the fire might disturb some of -the colours; if the latter, the wax will not retire enough within the -texture of the cloth, consequently lye too much above the colours and -look glaring. If you perceive any such glaring spots or places upon -your picture, or (in other words) parts that appear varnished like, -and that appearance should proceed from too great a quantity of wax, -paint those places over on the back with whitening, or any one of your -other colours, and when dry bring the picture near the fire, as above -mentioned, and those colours or whitening will imbibe the overplus of -the wax. Repeat that if required. - - - - -ART. V. - -_How to retouch or paint over any part after the colours are fixed._ - - -Put upon your pallette such of your tints as will be fit for the place or -parts you want to alter or paint over, temper and employ them with a -little spirit of wine;[10] repaint, and bring the picture to the fire -as often as required, and those retouched parts will become fixed like -any other part of the picture. - - -_Observations on article the first._ - -As linen cloth is the material most commonly and preferably used, as -the fittest and most convenient to paint upon, I chose to give under -Article the first, directions for that purpose only; for though the -wax and colours may be applied to cloth and other materials in several -different manners, I, not to bewilder the beginners in multiplicities -on a first setting out, gave and recommend that, which besides its -being the likeliest to be most practised, is the best for solidity, -and will prove to every practitioner the easiest, most agreeable, -expeditious and convenient for execution. - -But not to deprive the artists and curious of the several means and -methods that may be practised for and towards the same end, I shall -here give some of the principal ones, as well for painting upon canvas -as upon wood, plaister, &c. but first of all I shall consider and treat -Count CAYLUS’S system a little more at large, and shew why I have -deviated from it in this particular, and leave the artist at liberty -to adopt and practise which suits him best. - -The Count’s method for preparing the cloth consists, in stretching it -upon a frame, and holding it horizontally over, or perpendicularly -before a fire (at a distance convenient and proportionable to the -degree of heat it casts) and rubbing it with a piece of wax; which, -melting gradually as it is rubbed on, diffuses itself, penetrates -the body, and fills the interstices of the texture of the cloth, -which when cool, is fit to paint upon; but, as water colours will not -adhere regularly flowing and connectedly to the wax, He, to remedy -this inconveniency, makes use of an intermediate body, viz. chalk or -whitening, with which he rubs over that surface of the waxed canvas he -intends to paint upon, and then the colours will easily flow over and -adhere to it. - -Now, though this way of proceeding is very simple and successfully -practicable for small subjects;--for instance,--such as the head -of Diana, mentioned in the Abbé’s letter, or any other that may be -finished in a couple of hours, and while the colours upon the canvas -retain moisture; yet, to execute pictures of a larger size and -composition, which will require many a day’s labour and application, -and whereof no part can be finished positively at the first onset, this -manner of managing it will not answer so well, as that given under Art. -the first, for the following reasons. - -_First._ In painting upon the wax by virtue of the whitening, you -will not have that conveniency of retouching or altering of any part, -and before the colours are fixed, so well, as painting upon the raw -and bare canvas will afford you; because the texture and fibres of -the cloth being thoroughly invaded by the wax, there remains nothing -for water colours to fix or adhere to, capable to retain them; those -colours once dry, the slightest touch of a moist pencil will, as it -were, attract them, and frequently make and leave a bare spot; so -that in attempting to retouch, instead of adding fresh colours, you -will fetch off the old ones: for though the rough edged particles of -the chalk facilitate to the first colours an adhesion upon the smooth -body wax yet, water the vehicle of the colours, being the menstruum of -chalk, by discomposing it destroys part of its power and virtue, and -renders it incapable to perform the first service a second time. - -_Secondly._ Upon canvas fully imbibed with wax, you can neither use so -great a body of colours, nor employ them with such freedom, boldness, -or delicacy as you may upon cloth, whose texture is not pre-occupied -with wax--the reason is obvious--the one has its pores and interstices -filled up with wax; the other’s you must fill up with colours. Cloth, -a firm spungy body or substance, in sucking in the water attracts the -colours along with it into its pores, and thereby facilitates the -firm and delicate strokes; and the colours mixing and adhering to its -numberless fibres, will not come off on retouching, before the picture -is fixed; you may cherish or leave your work at pleasure without -detriment or inconveniency arising from that. Advantages that cloth -pre-occupied with wax is incapable of. - -_Thirdly and lastly._ By painting on canvas prepared according to -the directions of Art. the first, your works will be more solid and -lasting, because the colours will not simply lay upon the surface of -the wax, but cloth, wax and colours will make but one individual -body.--Thus much on my deviation from Count CAYLUS’S system, in regard -to the preparation of the cloth. - -For painting upon walls or plaister where the wax cannot be applied on -the back, the Count’s system must be practised; it will succeed well; -the rough and gritty grain of the plaister will take and retain a -sufficient quantity of colours to insure solidity; the only difference -between painting upon cloth and plaister consists in this; painting -upon canvas you can finish your picture entirely before you fix it; -in painting upon plaister, you must proceed as you do in painting with -oil-colours, viz. first, dead colour your subject and fix it, and then -paint it over again and finish it, either by virtue of the chalk, or -by tempering and employing the colours with some spirit, or oil of -turpentine. You may too paint and retouch with crayons. - -Upon wood, stone, and metals,--you must proceed as you do upon -plaister; but as there is no grain you must procure an artificial one, -after your board is waxed, by laying on a ground of any colour mixed -with half chalk and fix it[11]; upon this you may paint with water -colours or crayons, as sweetly as upon canvas. - -To paint upon paper;--you must have a smooth board, or copper-plate of -a convenient size, and well waxed; upon this you fasten your paper by -the corners and paint upon; the colours dry, present it to the fire, -and the wax underneath the paper melting, will soak and penetrate -through and fix the colours; this method may be successfully practised -with cloth. - -There are two more methods remaining to be practised on cloth and -paper; but as they make part of the system for painting with crayons, -and will be described under that head, I omit to mention them here. - - -_Observations on Article the second._ - -In grinding the colours upon the stone, and managing them upon the -pallette, care should be taken not to use an iron knife, the steel -or iron that grinds off, in mixing with the colours spoils their -brightness and vivacity; flake-white and white-lead, yellow-oker, -lacque and light-red, suffer greatly by it, it gives them a dull and -dirty cast; Naples-yellow suffers most of all from it; its vivacity -is entirely destroyed by the iron’s touching it. Horn, ivory, or -tortoise shell knives, or wooden spatulas are fitter for all manner of -painting; they will affect no colours; iron knives have destroyed many -a tender complexion in oil-colours; for, the oil once dry, the iron -ground off from the knife and mixed in the colours will be converted -into rust by the moisture of the air.--Tho’ this little hint is foreign -to our present subject, it will perhaps not be unacceptable to my -brethren.--It is an essential point in an architect to be acquainted -with the qualities and properties of the materials he builds with, if -his plan and stile, dispositions, proportions, &c. be ever so good, -noble, grand and graceful, yet if his fabric falls down as soon as -built, we are but little beholden to his skill.--Vandyke, I believe, -never used an iron knife, if he had he would not have painted a spatula -of horn in one of his pictures, wherein all the utensils of a painter -accompany his own figure.-- - - * * * * * - -The expedient recommended under Art. the second, for establishing a -standard for all the differing principal tints that may be required for -any subject, will be of use to them who are not much acquainted with -painting in water colours; and to ladies and gentlemen, who painting -only now and then for their amusement, cannot have so thorough a -knowledge of the value of each colour, and might therefore be at a loss -how to retouch, after the colours are fixed. - -To make the directions given for that purpose more intelligible, and -to point out the use of such a standard--let us suppose--the annexed -copper plate figure A. B. C. D. to be a piece of cloth, about a foot -long and three or four inches wide, waxed on the back, as directed -under Art. the first, and the divisions a. b. c. d. e. f. g. h. &c. be -the tints painted, according to their order and degradation, across -the whole width of the cloth A. B. these tints dry, cut the piece of -cloth across all the tints from top E. to bottom F. in two equal parts, -bring the one half A C near the fire, and by melting the wax fix it, -the other half B D you keep as it is unfixed. - -Now, the half A C being fixed, will shew you at one glance what -strength every tint will acquire; and if you moisten again the other -half B D, or paint the same tints upon a fresh piece of cloth, you will -see which are the colours that grow deeper still, fixed with wax than -they appear when only moistened with water, and the references 1 2 3 4 -5 &c. telling you what each tint is composed of, you will be enabled to -amend any one that might be amiss. Farther, when your picture will be -fixed and it should want retouching, and you should be at a loss for -hitting of the tint or hue required for that purpose,--bring only the -fixed half A C upon the picture and compare them, and you will easily -find what you want; again, if you want to renew any tint that is spent, -find that tint upon the picture, with the fixed half A C, when found -compare it to, and moisten its fellow upon the unfixed half B D, and -that will give you again the original hue, and the references 1 2 3 4 -&c. will tell you what that tint is principally composed of. - -[Illustration] - -Tho’ professed artists (whose long experience enables them to judge -of the value of each colour) will not have absolute occasion for the -comparative use of such a standard, yet they will not do amiss to make -an essay of their tints before they employ them. - - -_Observations on Article the third._ - -The being able to work and retouch at pleasure, and at any time, -without fatiguing the colours, or any other detriment arising from it, -is an advantage peculiar to encaustic only; for, the new colours will -unite with the old ones without making spots, as is the case in common -size-painting; nor will there be that inconveniency of rubbing the -places to be retouched over with oil, as is the case with oil pictures; -the only seeming difficulty to a beginner, will consist in the colours -growing paler and weaker in drying, but as a picture is easily kept -wet, by moistening it now and then as above directed, the difficulty -vanishes. Pictures of any size may easily be kept wet for several days, -by applying a double wet cloth on the back; but a little practice will -render that precaution unnecessary. - -Every body in the least acquainted with colours, knows that water -colours, tempered or employed either with gum or size, grow paler and -lighter in drying, and that they acquire their true tone only when -dry;--in encaustic they grow paler and lighter too in drying, but -they recede from and lose their true tone.--Encaustic is the reverse -of size-painting as to effect, while you are at work and the colours -wet;--of the latter you cannot judge positively until the colours are -dry; of the former you can only judge while the colours are wet, or -which is the same, when fixed with the wax. - - -_Observations on Article the fourth._ - -The most essential point in encaustic--the fixing of the colours--is -the simplest and easiest for paintings of any size, moveable or -immoveable. A surface of forty feet may be fixed as conveniently as -a picture of twelve inches; for if the painting be too large to be -brought near the fire, or immoveable on a wall, bring that agent to the -painting;----a square copper or iron chest, or box, such as commonly -used for warming or airing of beds, with a red hot iron or lighted -charcoal in it, will do the business admirably well, by passing it in -a direction parallel to and before the painted surface, at a distance -proportionable to the degree of heat it casts,--a _brasier ambulant_, -with a cover to prevent the ashes from flying about, with charcoal -well lighted, will answer the end too, by inclining the picture over -it,--an instrument of iron like a baker’s shovel, with a long handle -and made red hot, will perform the same service, if waved in a parallel -direction before the painted surface; and by heating it again, when -grown cool, with such an instrument one may fix paintings of the -largest size; it matters not if the whole be fixed at once, or in parts -at different times. - -The directions for rectifying of any defects arising from too small a -quantity of wax, are so clear, simple and sufficient, that they want -but little explanation or addition; only, you may instead of wax simple -use wax dissolved in such a quantity of oil of turpentine, as to make -it when cool, fluent enough to be employed with a brush on the back of -the picture, which, when brought to the fire, the wax will settle with -the colours, and the turpentine will fly off. - -My saying under the above article that the sudden action of the fire -might disturb some of the colours, must not be understood in regard -to the wax, but in regard to the nature of the colours, which, if the -picture be brought too near the fire at once, will be scorched before -the wax can melt and penetrate the texture to screen and secure them. - - -_Observations on Art. the fifth and last._ - -The facility and conveniency for retouching a picture after the colours -are fixed, without the new colours differing from the hue of the old -ones, is an advantage no other manner of painting is possessed of. - -In oil painting you cannot do it so well except you paint over large -parts, because the colours in drying acquire a yellower hue, than they -have while fresh; there will always be a difference between the very -same tints; besides, oil pictures are frequently greasy-like and refuse -the new colours, so that you are obliged to rub those parts with oil, -to make the new colours adhere to and flow over the old ones, which -rubbing with oil very often makes a dull and yellow spot when the -colours are dry; in size-painting it is worse, retouchings there in -general appear hard, and in large masses of a uniform colour,--such -as sky’s--produce spots.----Encaustic is free from all that; you may -glaze with a body of colours as thin and as transparent as you please, -without your colours changing of tone. By retouching with crayons upon -the fixed colours, the sweetest effects may be produced in landscapes -and figures; nay, for retouching only here and there, I should prefer -crayons. For instance--to finish a head,--and give the decisive -strokes about the eye, mouth, hair, and sharp folds of linen, &c. in -landscapes--for the extremities of trees, &c. the smart touch of a -crayon will be preferable to the pencil. - -When your picture is entirely finished, and you should want to give -the canvas more solidity, you may paint it over on the back with any -colour or tint, and bring it again and for the last time to the fire, -to fix that colour; if you apprehend there is not wax enough, apply a -little dissolved in spirit of turpentine, as mentioned in the foregoing -observations on Art. iv. this fixed take your picture off from the -frame, and stretch it upon that whereon it is to remain. - -Having now done with the process for painting in encaustic with the -pencil, which notwithstanding its simplicity might appear to some -beginners intricate, because I pointed out all the difficulties that -possibly may occur in the execution,--to comfort and encourage those -that might think the task hard, I shall recapitulate, and reduce the -whole within this compass.--_Stretch a piece of cloth upon a frame, rub -the back of that cloth with wax, paint your subject on the other side, -with colours prepared and tempered with water, and when dry bring the -picture near the fire, and by melting the wax fix the colours._ - -N. B. I might have said much more, and dwelt longer on several -particulars; but as the only aim of this treatise is to communicate the -discovery to artists, and others already acquainted with the management -of colours, and not to form pupils from beginning, I omitted saying any -thing of composing the tints and disposing the colours on the pallette, -&c. Every artist may go on in his accustomed method; the use of all the -colours is in encaustic as in oil, as may be seen by the following list. - -The direction for painting with crayons will illustrate some passages -of the foregoing process, and what other advantages encaustic painting -will have over oil and size-painting will be shewn by conclusions drawn -from the experiments. - - _The end of the first part._ - - - - -LIST of the COLOURS - -To be USED for - -Painting in Encaustic; - -AS ALSO FOR THE - -COMPOSING of the CRAYONS. - - -WHITE. - -_Flake-white, and white-lead, or ceruss._ - -For painting in encaustic, I mix always both together half and half; -flake-white alone is subject to raise too much little bubbles in -employing it with water, which the admixture of the other prevents; -besides, both together make a better and more solid body; tho’ -flake-white is the whitest of the two, to use either alone I should -prefer the second. The Venetian or Dalmatian white-lead is by far -the best for all manner of painting; being prepared with a purer and -subtler acid it is whiter and purer than any other whatsoever, and -preferable to flake-white; next to it is the German or Dutch; French -or English ceruss are in general but indifferent, in experiments I -frequently found the latter to have one third of marle or chalk in its -composition; which is the cause of its growing so soon yellow, dull -and dirty in oil. - -In composing of the crayons it will be well to observe the above -mentioned proportion of half and half, as by the doing so, much pipe -clay will not be required to bind them. - - -YELLOWS. - - Naples-yellow, - Light-oker, - Brown-oker, - Yellow-orpiment, or, - King’s-yellow, - Red-orpiment, - -are all perfectly good and necessary for our purpose. - -Naples-yellow is the only colour that ought to be used in composing -the tenderer flesh tints of women; it proves a very tender, bright -and beautiful lasting colour for all manner of painting, if properly -prepared and managed, if not, a dirty, weak and treacherous one, and -particularly in oil. It is a mineral compound of lead, antimony, -sulphur, and some arsenic, which latter is the cause of its changing, -and hurting other colours, and particularly the white, so much -complained of by the painters. - -Though this yellow fixed with wax will not change; yet it will not be -amiss to insert a method to clean, and purify it, so as to render it -beautiful and lasting for oil and other uses. To clean it do as follows. - -Take crude Naples-yellow, (the heaviest for bulk is the best) and break -it into small pieces with the mallet upon the grinding stone, put it -in a clean earthen vessel, and pour over it a quantity of new milk, -sufficient to cover it three or four inches over, stirring it well for -some time with a wooden spatula or stick; then let all together stand -undisturbed for five or six days, and the milk will become thick and -sour, and master by its acidity the noxious saline principles of the -colour; having stood the abovementioned time, take off the creamy part -from the top of the milk, and pour warm water upon it, and let the -vessel overflow till you perceive the water to come off as clear as -when poured on, and the colour will be purified and fit for use. - -Light-oker, a precipitated, feruginous earth, answers in encaustic all -the purposes it does in oil. - -Brown-oker, a precipitated feruginous earth too, only it partakes a -little of a vitrioline principle, which the light-oker does not. In -encaustic this colour answers all the purposes it does in oil. - -Yellow orpiment, or king’s-yellow. The principal constituent particles -of this colour are, sulphur and arsenic, which latter prevails and -makes great havock among the other colours when used in oil; it cannot -play the same tricks fixed with wax; wax being a closer and unvariable -body, confines its arsenical principle. Oil once dry ceases to be oil, -and can confine them no longer. - -Red-orpiment, so called to distinguish it from the other, is properly -not red, but of a rich orange colour, and is a compound of arsenic and -sulphur too; but here sulphur prevails, which is the reason of its -standing its ground better and doing less harm in oil than the other. - -In encaustic it is of universal use, throughout a whole picture to give -warmth to lights and shades; in landscapes it may be used from the -horizon down to the fore ground, to good purpose; for shades in flesh -it is admirable, it gives a clear, soft and transparent strength; in -the verdure of landscapes it answers all the ends for brown-pink, when -mixed with a little bone black. - -This colour is very conspicuous in all the warmer landscapes of Claude -Lorraine; Mr. Vernet a famous French painter uses it very much. - - -PINKS. - -_Light-pink, and brown-pink._ - -These two colours ought rather not be used, as they both proceed -from the same vegetable principle, viz. the juice or extract got by -decoction from French berries by the help of acid salts; consequently -incapable to sympathise with or admit wax into their pores[12]; the -wax can take hold of them only superficially, which makes them appear -dry and gritty upon the picture, and will easily come off by rubbing -them with one’s finger. Those artists who cannot do without them, -will do well to grind them, the light-pink with a little light-oker, -and brown-pink with a little brown-oker, and they will keep a little -better; but red-orpiment and a little bone black, making as fine a pink -as that properly so called, it will be best to use the latter. - - -REDS. - - Lake, - Vermilion, or - Cinnabar, - Minium, or - Red-lead, - Light-red, or - Light-oker calcined - Brown-red, or - Brown-oker calcined - Indian-red, - -are all properly qualified for encaustic. - -Care must be taken to have the lake good; that which is commonly sold -under the name of Florence lacque, and recommended as the best, is in -general the worst; it is usually in small hard grains, which hardness -is owing to gum arabic, or what is worse, to that glutinous substance -which oozes out from the cherry tree, put in by the fabricant (of the -lake) to bind and keep the grains together, and make it appear better -merchandise than it really is; such lake will scale off from the -canvas; the gum it is impregnated with hinders the wax from penetrating -its pores--every body knows that lacque is made of cochineal; there -is a bastard lake made of Brazil wood, but that is easily known by its -dullness. The best lake for our purpose is that which is of a fine, -clear, deep hue, easily to be broken and crumbled between the fingers. -The finest and best lacque I ever saw and used, is made here in England -by an ingenious artist in the seal engraving way. - -Vermilion, or cinnabar, answers in encaustic all the purposes it does -in oil. - -Minium, will be of infinite service for painting with the pencil and -crayons; it will not change fixed with wax, as it does in oil; it -may be used to advantage in some carnations or flesh tints; and in -landscapes to enliven the oker, for great lights. - -Light-red, or light-oker calcined, is of the same universal use in this -manner of painting as it is in oil, or common water colours. - -Brown-red, or brown-oker calcined, may be employed for the same use as -in oil, or distemper painting. - -Indian-red, the French call this colour, _Terre d’Angleterre_, English -earth; this colour is particularly useful for distances, it makes the -degradation of objects light and airy. - - -TERRA DI SIENA, and TERRA VERTE, - -Terra di Siena, a yellow hard and clayish substance, so called from the -city of Siena in Italy, from whence it comes. - -This colour is very unfit to be used crude, either for painting in -encaustic or crayons, its pores are too close for the wax to penetrate; -or to say better, this colour or earth is very much impregnated with a -nitrous principle, with which wax cannot sympathise, and for this very -reason it is as unfit to be used crude in oil. Those painters that use -it freely have always but too much reason to repent. But, - -Terra di Siena calcined, is a very beautiful and useful colour for -all manner of painting, and particularly encaustic. The fire having -dispelled in some measure the nitrous principle, the wax may freely -enter its pores. This colour gives a great, soft, and glowing strength -in flesh, drapery and landscape; some painters call this colour Roman -oker. - -Terra verte; this colour too comes to us from Italy, and some from -Germany, they are both alike, and ought to be entirely banished the -pallette, as it grows so soon dirty and black when employed with oil. -Terra verte differs from terra di Siena in little else but colour, -it has a little vitriol. The too free use some of the older Italian -painters made of this colour in flesh tints, is the cause that numbers -of pictures of those masters are so black as we see them at this time. - - -BLUES. - - Ultramarine, - Prussian blue, - Smalt. - -Ultramarine is perfectly good, and every body that likes to use it may -do so. - -Prussian blue, equals ultramarine in encaustic, for all intents and -purposes; there is no other blue required for crayons neither. - -Smalt may be used, but I think it rather too gritty; its particles are -too transparent for parts where a solid mass of colour is required. -For crayons it does very well mixed with Prussian blue to bind it, both -together make a beautiful colour, the grittiness of smalt will there be -of advantage. This colour will not grow black fixed with wax as it does -in oil. - - -BLACKS. - - Ivory Black, - Bone Black, - Blue Black, - -have all the necessary qualifications to be employed. - -Ivory black may be employed for all the uses made of it in oil. - -Blue black is particularly necessary for landscapes; the blue black -generally sold at the colour shops is commonly made of wine stalks; but -blue black made of peach, apricot, or plum-stones calcined, is by far -the best; it is not so loose and spungy as the former, its colour too -is finer. - -Bone black is the most valuable of the black tribe for sweetness, and -a transparent warmth for landscapes and figures; bone black and white -alone will make softer and more natural turning tints than any other -colours can produce; the Flemish painters use it very much for glazing. - -This black mixed with a little terra di Siena calcined, makes the -strongest and sweetest shades that can be obtained with colours. - -The best is made of the bones of mutton trotters calcined. - - -COLLENS EARTH. - -A dark blackish brown and somewhat bituminous earth, inclining a little -towards purple, is a very good colour, and of singular use where -extraordinary strength is required in fore grounds. - - -UMBRA, Crude and calcined. - -A useful colour enough for common purposes; some painters use it for -shades in flesh, but very improperly, for it is a very raw colour crude -or calcined, and only fit to be used in drapery or back grounds. - -These are all the colours that ought to be used for painting in -encaustic, with the pencil; there are a few more that might be employed -in this manner, but as they are rather inferior in quality, or only -compounds of those already mentioned, I omit them; a few, not commonly -used in oil painting that notwithstanding might be used in encaustic, I -shall mention under the article of crayons, as they belong more to, and -are more useful in that way. - - - - -ENCAUSTIC; - -OR, - -_Method of painting with and fixing of the_ CRAYONS. - - -The method of painting with and fixing of the crayons comes not only -within the sense of encaustic, but is the very self-same thing. The -whole proceeding is founded upon the foregoing principle; the same -materials and agent are required.--The only difference between painting -in encaustic with the pencil, and painting in encaustic with crayons, -consists in employing the colours; in the former--you paint with -colours tempered with water; in the latter--you employ, and paint with -the same colours dry; the effect and solidity will be equal and the -same in both.-- - - * * * * * - -The encomiums I bestowed upon the penciling system, are applicable -to that of the crayons; I shall say nothing more; experience will -be the best panegyrist. I am afraid crayons, as seemingly the less -troublesome, will carry the golden apple; I will not anticipate the -decision of the public.--I shall give the hint, and my fellow artists -may make use of it as they please.-- - - * * * * * - -As the system of encaustic for the pencil is the parent of that for -the crayons, and as both may be happily blended and jointly practised -to good purpose, I shall, to avoid tiresomely repeating the same -thing over again, refer the reader to the former process whenever -similarities of proceeding occur; they, besides commenting each other, -will open to the more timorous artist a freer field of action. As I did -in the former, so shall I in this, give that method of proceeding, -which by experience I found to be the best. - -Though this system did not enter in the original plan of publication -with the other, and I intended to withold it from the public a little -longer, to see what reception the former should meet with; yet as it -got vent by shewing it to few friends, and a gentleman offering me (in -his opinion) a considerable reward to dispose of the secret in his -favour only, I, to prevent some modern PLINY’s casting more direct -reflexions upon me, without my having the skill of Apelles to uphold my -reputation, at least thought proper to give them to the public both at -once. To make discoveries that may be of infinite advantage to arts, -subservient to private avarice, is the foible of a weak, jealous, and -ill-natured mind.--Here follows the process; and first the preparation -of the cloth. - - - - -ART. I. - -_Preparation of the cloth, or paper, for painting with crayons._ - - -First method to prepare the cloth without paper. - -Take any sort of linen cloth whose texture is pretty close and even, -stretch it upon a straining frame and rub it on the back with a piece -of wax, as directed under Art. the first, page 26. your cloth waxed, -prepare any tint or colour you like, or judge best for a ground to -work upon, let enter into the composition of this tint or colour, one -half, or at least one third of chalk or whitening, mix and temper all -with pure water; your tint ready, paint over your cloth with it on -that side you are to paint upon, and lay the colour on pretty even and -substantially; this colour or ground dry, bring the canvas near the -fire, as under Art. the fourth, page 35. and the wax melting will fix -that colour or ground, which when cool will be a fit and firm body to -work upon with crayons. Note, if the quantity of wax should prove too -small for the quantity of colour, apply with a brush on the back some -wax dissolved in turpentine, as described in the next page, and bring -the canvas again to the fire. It is essential in painting with crayons -to have the first ground properly prepared. - - -_Second method, to prepare cloth with paper pasted thereon._ - -Take linen cloth and stretch it upon a frame as the foregoing; then -make a paste with fine wheat flour, or starch and water, and when -the paste is near boiled enough, put in and mix with it of common -horse-turpentine, about half an ounce to six ounces of paste, stir it -well together, and let it simmer five or six minutes longer; then take -it from the fire and set it by to cool a little, and while it is still -tolerably warm, paste your paper (grey, blue or white) to the cloth -in the usual manner, and set it by to dry.--In the mean time put wax, -broken in small pieces, to dissolve in oil of turpentine near a fire, -and in such proportion that, when dissolved and cold, it will be of -consistence like a thin paste, and fluent enough to be managed with a -brush.--When your cloth and paper is perfectly dry, hold it over or -before a fire, at a convenient distance, and with a brush apply the -dissolved wax on both sides to cloth and paper, and continue laying on -wax till you perceive both surfaces equally shining, and there be no -imbibed-like spot remaining; this done, let your cloth stand before the -fire about half an hour longer, (or in summer in the sun,) and, the oil -of turpentine evaporating, the wax will become firm again, and be fit -to receive any tint or colour for a ground to work upon, which you must -lay on and fix as the foregoing upon cloth without paper, and when cool -you may go to work. - - - - -ART. II. - -_Of the crayons their preparation and use._ - - -PREPARATION. There is no particular or uncommon preparation or -composition required for encaustic, all crayons hitherto commonly used -may be employed; some great lights only will be wanted for every set -of tints; for what has been said on colours, and their growing deeper -when fixed with wax, _penciling system Art. II. page 29, 30_. holds -equally here; therefore every artist, that may be inclined to make a -trial in this manner, will do well to make an essay of all his tints, -by preparing a piece of cloth as directed in the foregoing article, -and giving a few strokes of each crayon and fixing it, this will -immediately shew what new tints will be wanted. - -In composing any new tint it will be well to leave out fullers-earth, -pipe-clay, chalk, and other calcarious matters[13] which are generally -used in the common way; the former--to bind the looser colours; the -latter--to keep up the flake-white and white-lead, which otherwise -would turn black; in encaustic those matters are wanted for none of -the above ends; flake-white and white-lead will not change, and both -together will make a body sufficiently connected to bind the lighter -tints. - -All colours used in oil and mentioned in the foregoing list, are good -for crayons, and no others. - -_Note._ What has been said at the end of the list of colours, that a -few more colours, not commonly employed in oil, might be used for -crayons, was a mistake of the author’s upon his experimental table; -there are but two more that may be used for crayons, viz. bice and -verditer. - -_The use of the crayons_ in encaustic is the very same as commonly -practised, there is no difference; you must work and paint upon the -waxed ground as you do upon the bare paper. Encaustic has the advantage -over the common way as to expedition. The fine grittiness procured by -the particles of the chalk mixed with the ground you work upon, will -_file_ off more colour from the crayon than the grain of the unwaxed -paper; and the wax diffused through the ground will retain the colours -better; so that when you sweeten your tints with your finger there will -be no waste; for in working, the particles of the colour will intrude -themselves into the body of the wax, which yields to them; which paper, -bare or prepared with a ground tempered with gum or size, does not. - - - - -ART. III. - -_How to fix the crayons._ - - -For fixing the crayons you must act and proceed in every respect, -according to the directions given _penciling system Art. IV. page 35, -36_, &c. you may retouch, and apply the dissolved wax on the back, and -bring the picture to the fire as often as required. - - -_Observations on the system for painting with crayons._ - -For painting with crayons I should prefer cloth prepared according -to the first method, without paper, for the same reason I gave for -deviating from Count CAYLUS’S system, _page 48, 49_. however, artists -may decide for themselves. - -Besides the two methods mentioned for preparing the cloth, one might -paint upon paper pasted upon cloth as directed, without first laying on -any wax or preparatory ground; but such paintings would not have that -lasting solidity they ought; besides, laying on a ground preparatory -and analogous in hue to the subject to be painted, is more expeditious, -as such a ground may be made to serve for a half tint, and answers the -purpose of dead colouring. - -Turpentine enters in the paste for one great and principal end, viz. -to keep the particles of the paste a little asunder, and facilitate -to the wax a free passage through it; for the particles of turpentine -diffused through the paste, in melting, when the picture is brought -near the fire, open so many equi-distant channels for the wax, which, -by this means, can penetrate freely and uniformly, and diffuse itself -over the whole in equal proportion; without the turpentine it would -not succeed so well; the wax would only come through here and there; -the colours would in a manner be calcined before a sufficient quantity -could penetrate to secure them; for though there will be wax enough for -the first fixing, yet, to alter or retouch, or where an extraordinary -great body of colours might be employed, there might be a deficiency of -wax, which cannot be supplied otherwise than by laying it on, on the -back, and if it could not work its passage through the whole might -miscarry.[14] - -As few artists compose the crayons themselves, and as inserting -directions for that purpose would have swelled this treatise too much; -the author, for the conveniency of all practitioners has given the -_recipe_ of proportion for composing every tint for what it is to be -when fixed, to Mr. Sandys, colour-merchant, in Dirty-lane Longacre, of -whom perfect sets may be had; and as the author has communicated the -_recipe_, for binding the most difficult colours,[15] for the benefit -of the art, without fee or reward whatsoever, those crayons will be -sold at the usual price. At the above place, may be had cloth or paper -ready prepared on short notice. - -However, if any artist should chuse to prepare the crayons himself, he -will do well to leave out the pipe-clay, fullers-earth, chalk, &c. as -much as possible, and mix his tints as usual. The standard recommended -under _Art. II. page 29, 30_. and explained _page 55, 56_. will be of -service for ascertaining beforehand the value of each tint. - -If any crayon prepared for the old way, should prove too hard for this, -as may be the case with vermilion, bice, verditer, and the other looser -colours, in whose composition enters a little paste to bind them, -sprinkle those crayons with a brush dipt in spirit of wine, and they -will become manageable. - - - - -GENERAL REMARKS - - _On the apparent characters of encaustic paintings, on wax and - varnish._ - -The principal apparent characters of an encaustic painting are, - -1. The colours have all the airiness of water colours, and all the -strength of paintings in oil, without partaking of the apparent -character, or defects of either. - -2. You may look at and enjoy a picture in any light; the colours are -bright, fresh and lively without glaring. They require no varnish. - -3. The colours are firm, without being brittle, and will bear -scratching without receiving any harm. - -The effect of the colours is the same in both systems, each will have -and preserve its peculiar character, as to the manner of painting; if -you paint your subject in the light and airy stile of the Carlo Marat -school, when the colours will be fixed you will have the high colouring -of Rubens. - - -On WAX. - -It is not material for me to decide which of the two ought to be -preferably employed, bees-wax simple, or virgin-wax.--For large works -that will be exposed to the air, I should prefer the former; artists -will see by a few trials which will suit their taste best. - - -On VARNISH. - -Varnishes are not required, as has already been observed; but as our -eyes have been used so much to see colours, not in their natural hue, -but disguised by varnish, those that should like to please themselves -in this point may use the following method. - -First lay on with a clean spunge a substantial lay of the white of -eggs, and work it well upon the picture. This dry, lay on any varnish -commonly used for oil painting, and your picture will look as if -painted with oil-colours. - -This varnish may be taken off at pleasure, the uppermost by rubbing -the surface of the picture with a rag dipped in spirit of wine or -turpentine, the white of eggs by washing the picture with water. It is -not adviseable to lay a varnish of spirits or gums, without first using -the white of eggs, as spirit of turpentine is the menstruum of wax. - - - - -EXPERIMENTS. - -To adopt and practise in earnest any new system without sufficient -trials and proofs of its merit, may be called going wilfully -astray.--To avoid deceiving myself in the new system before us, I, -after having been convinced of its advantageous practicability, set -about to ascertain the other great point, the stability of the colours; -for this end, and to know more exactly how much every colour would vary -from its original hue in a certain space of time, as well in regard -to the same system as in opposition to oil-colours, I proceeded as -follows. - - -_Experiment the first and principal, 1757._ - -I had all the colours used in oil painting, mentioned in the foregoing -list, carefully ground with water, at Mr. Sandys’s, colour-merchant, -and from those colours I composed ninety various and sensibly differing -tints, for flesh, drapery and landscape; of each tint I had a quantity -of a two ounce gallipot full, tempered with water; so I left them -well screened from dust till they were become dry again; then I -divided each mass of tint in four equal parts; two of each I set by -for the comparative use, the other two parts of each I employed in the -following manner. - -One part of each I tempered again with water, and painted with it over -a space of cloth of six inches wide and two inches high, the tints -close to each other, in the manner of copper-plate, _page 58_, and the -cloth waxed as directed _Art. IV. page 26_. The same I did with the -entire and unmixed colours. - -The other parts of each tint I tempered with the finest nut-oil -according to custom, and painted-over with them such another space of -six inches by two, as the former, upon oil-cloth. The same I did with -the entire colours, and set them by to dry; when dry, I brought the -encaustic tints near the fire, and by melting the wax fixed them. - -My tints thus ready, I cut each piece of cloth, encaustic and -oil-tints, in five equal parts, and disposed of a piece of each in the -following manner. - -1. One piece of each I exposed in the open air to all the injuries of -sun, dew, wind and rain. - -2. One piece of each I nailed to a wall in a damp cellar-like room. - -3. One piece of each I nailed to the ceiling of a kitchen and near the -chimney, where all the year round a fire was kept. - -4. One piece of each I nailed to the side of a room I usually inhabited. - -5. One piece of each I put between several quires of paper, and -confined them in a close drawer deprived of air. - -Thus I left them, till the latter end of October, 1759, (the space of -twenty-seven months) when I gathered them. Then I took the two parts of -tints I had set by and preserved, and tempering the one with water, and -the other with oil, painted the first upon a fresh piece of waxed cloth -and fixed them, the other tempered with oil, I painted upon a fresh -piece of oil-cloth, and after having washed the old tints, on comparing -the new and old colours together found as follows. - -The old encaustic entire colours and tints of number 1. seemed to have -suffered a considerable change in opposition to the new ones, but -compared to their old fellows in oil they looked bright. - -I washed them both with common water, and a brush, the encaustic tints -recovered a little; oil-tints not. - -I brought the encaustic to the fire, and most tints recovered -their original hue, and were equal to the new ones, _pinks_, -_yellow-orpiment_, _lake_, _terra di Siena_, and _verditer_ excepted; -the first was partly gone, what remained was dull; the second was grown -whiter; _lake_ grown lighter, but had not suffered in beauty of colour; -_terra di Siena_ crude, grown rough and dirty; _verditer_, a little -dull. - -No. 3. seemed to have suffered by the smoke; but after washing it -with a stout brush, and soap and water, it recovered its original -hue, _pinks_, _yellow-orpiment_, _smalt_ and _verditer_ excepted; the -first was sensibly decayed; the second grown darker, inclining towards -red-orpiment; the third grown dull, but mixed with Prussian blue it -was as bright as the new; verditer grown dark and dull. - -No. 2, 4, 5. were just as the new ones, there was no difference. - -Oil colours did not stand the test so well; their general appearance in -opposition to old and new encaustic,--was: - -No. 1. weak, dull and dim, some entirely gone. - -No. 2. freckled, of all sorts of hues, not to be washed off. - -No. 3. darker, some dull, others dirty, some entirely gone. - -No. 4. considerably yellower, and less bright. - -No. 5. yellow-spotted, as if varnished with gall. - -The foregoing tints were all fixed with virgin-wax, which I thought the -best; but having at the same time and with the same colours painted -upon cloth waxed with common yellow bees-wax, I found that the latter -in the open air preserved the colours rather better. - - -_Experiment the second._ - -I washed the foregoing tints with _a strong lixivium of pot-ash, -vinegar, spirit of wine, a solution of sea salt, and aqua fortis_. - -By this operation the oil-colours were entirely destroyed, the -encaustic suffered nothing, only _smalt_ grew darker; but after -scraping it and bringing it again to the fire, it recovered its tone. - -I have still a little scrap of a picture, a landscape, by me, which -has undergone all the abovementioned trials and more, for I took it -from the frame and folded it in four, put it upon the frame again, -and brought to the fire and the folds disappeared,--the colours are -as fresh as if painted but yesterday. On examining it close one may -perceive it suffered violence, but at a yard’s distance no marks appear. - - -_Experiment on oil-colours._ - -Having perceived that oil-colours, painted upon a waxed ground always -appeared brighter upon an oil-cloth; I, to come at the knowledge of -the cause of this effect, contrived various experiments, but without -success; at last I made microscopical observations, and found that -oil-colours painted upon an oil-cloth undergo a great fermentation, -five or six hours after being laid on, and continue so till they are -dry. Then they begin to overcast, and by degrees cover the surface with -a yellowish, grey substance, not to be washed or rubbed off but with a -knife. - -Among the very same colours painted upon an encaustic ground I could -perceive no such fermentation, or overcasting.--From this we may -conjecture that the priming, or ground we work upon is more the cause -of the colours changing than the colours themselves, very likely owing -to the desecated saline particles of the oil, which are dissolved by -and mix with the new oil and colours; or to the superabundant quantity -of salts contained in the ground or priming, which is generally -composed of the coarsest oil and colours, and frequently half chalk. - -_Though this latter experiment has nothing to do with encaustic, it -will find its application and owner._ - -To prove the stability of encaustic colours, I have mentioned but two -experiments; they are sufficient; from them we may draw the following - - -CONCLUSIONS. - -First, that encaustic colours, having resisted the injuries of the -weather better than oil-colours, for the space of twenty-seven months, -they will prove more lasting than oil-colours for a greater space of -time. - -Secondly, that having resisted the effects of the corrosives, _alkali_ -and _aqua fortis_, &c. the circumambient air, howsoever impregnated -with saline particles, cannot affect them. - -Thirdly, that if pictures of this kind receive any hurt, fire will -restore them. - -The most celebrated men of antiquity, celebrated the performances of -their painters; if their colours had not been as lasting as their skill -was great, some one might have left us regretful instances. They left -us none. - -Was WAX the preserver of their colours? - -FINIS. - - - - -ADVERTISEMENT. - - -As the foregoing Treatise is written and published with an intention -to communicate a discovery that will prove of infinite advantage to -the loveliest of arts, in all its branches; the author, conscious -of wanting the necessary qualifications of a writer in a language -not natural to him, hopes for indulgence, for all the inaccuracies -and improprieties of expression he may and must have fallen into: as -to facts, he begs leave to assure the public, that nothing has been -advanced but what is strictly true. - -If any artist or others should in practising be at a loss or stand for -any thing, the author shall always be willing and ready to give them -farther light on any occasion. - -The treatise on Practical Painting in general, which was to have been -published together with this, as has been intimated to the public in -an advertisement of the third of January, will be published as soon -as possible; the author being engaged in a work of a very extensive -nature, had not time to bring it in perfect order himself; a gentleman -and friend of his has been so kind as to undertake the finishing and -correcting of it; it will soon be ready for the press. - - - - -FOOTNOTES: - -[1] Philosoph. Transact. vol. xlix. part 2. - -[2] Though the Abbé does not quote the passage, one may guess it must -be the following the count undertook to explain. _Pliny_ lib. xxxv. -chap. 11. - -“Ceris pingere ac picturam inurere quis primus excogitaverit non -constat: quidam Aristidis inventum putant, posteà consummatum à -Praxitele. Sed aliquanto vetustiores Encausticæ Picturæ exstitere, ut -Polignoti & Nicanoris, & Arcesilai Pariorum. Lysippus quoque Æginæ -Picturæ suæ inscripsit, ἐνεκαυσεν, quod profecto non fecisset nisi -encaustica inventa.” - -_Which may be told in plain English thus_, “Who first invented to paint -with (or in) wax, and burn in (or fix) the picture with fire, is not -certainly known. Some think Aristides invented it, and that Praxiteles -brought it to perfection; but there were pictures by masters, of a much -older date; such as of Polignote, Nicanor and Arcesilaus, all artists -of Paros. - -“Lysippus writ upon his pictures he burnt in, which he would not have -done if the encaustic had not been invented then.” - -[3] PLINY is an evidence for this my opinion; for after having said, -lib. xxxv. ch. 4. _Nicias scripsit se inussisse_, he says, _tali enim -usus est verbo_. Which words seem clearly to indite that PLINY thought -it equivocal, or contrary to its proper signification. - -[4] Both pictures were disposed of as soon as finished to a Dutch -gentleman, who sent them to Holland as a pattern, and were mightily -approved of. - -[5] Any sort of old cloth, if whole, is as good as new; I prefer the -former to the latter for its softness. To ascertain a just proportion -of wax to every sort of cloth is unnecessary, if you should either put -too much or not enough, you may easily remedy it. See ART. iv. One -single trial will clear up the incertitude. - -[6] Entire colours are the white, red, yellow, blue, &c. - -[7] See the nature of this better explained in the copper-plate at the -end of observations of Art. 2. - -[8] I prefer a fire of sea-coals because it is much more uniform, and -does not emit so many sparks as wood or charcoals, which might injure -the picture, though any fire with proper care will answer the end -proposed; a German stove is still better than any fire whatsoever. - -[9] You will easily know those places that shall want wax; they will -appear like so many spots of a lighter hue. - -[10] Any other spirit such as that commonly burnt in lamps, common -gin, rum, or genuine brandy, will do just as well; spirit or oil of -turpentine is very proper too; but as it smells so very strong, ladies -and gentlemen that paint for their amusement only would not like it. - -[11] The same might be practiced upon cloth, it would do better than -only rubbing it with the chalk; but for painting with the pencil the -bare cloth is still better. - -[12] I am aware that every body will not enter into this doctrine at -first, and some may think it very odd that a colour which is used in -oil, should not sympathise with wax; the question is easily solved, the -grinding stones unite oil and pinks, and bring them together by force, -but experience shews it is but for a little while; the oil once dry, -pinks soon fly off and fade away. - -[13] Fullers-earth, pipe-clay, chalk, &c. ought to be left out, because -they sink so very low when fixed with wax, and impart a great dullness -to all those tints wherein they prevail; pipe-clay and fullers-earth a -dusky transparent gray; chalk, a yellowish-white no-colour. - -[14] Old crayon pictures may be fixed very well; the paste becoming -old looses its cohesion; the wax may freely and uniformly penetrate -through; they will want retouching. If any artist has a mind to try, he -may do it with some insignificant subject for fear of miscarrying on a -first trial. - -[15] If this treatise should meet with such approbation as to require -a second edition, the recipe for the composing of crayons will be -inserted at full length. - - - - -TABLE of CONTENTS. - - - Introductory account of Encaustic - Painting page 1 - - Article the first, _preparation of the - cloth for painting in encaustic_ 26 - - Art. the second, _of the colours, and - their preparation and use_ 29 - - Art. the third, _how to paint over - or alter any part before the picture - has been near the fire_ 33 - - Art. the fourth, _how to fix the colours_ 35 - - Art. the fifth, _how to retouch any part - after the colours are fixed_ 40 - - Observations on Art. the first 41 - - ---- _Count_ Caylus’s _method of preparing - the cloth_ 43 - - ---- _Reasons for deviating from the - count’s method_ 45 - - ---- _How to paint upon walls_ 49 - - ---- _How to paint upon wood, stone_, - &c. 50 - - ---- _How to paint upon paper_ 51 - - Observations on Art. the second; _on - grinding the colours_ 53 - - ---- _How to ascertain the just value - of each colour_ 55 - - Observations on Art. the third, _advantages - of Encaustic painting over - oil and size-painting_ 60 - - Observations on Art. the fourth, _various - methods for applying the fire to - a picture_ 63 - - Observations on Art. the fifth, _on retouching - after the colours are fixed_ 67 - - List of the colours, _white_ 74 - - ---- _Yellows_ 76 - - ---- _Pinks_ 82 - - ---- _Reds_ 84 - - ---- _Terra di Siena_ and _terra verte_ 88 - - ---- _Blues_ 91 - - ---- _Blacks_ 92 - - ---- _Collens earth_ 94 - - ---- _Umbra_ 95 - - Method of painting with and fixing - of the crayons 97 - - Art. the first, _first method to prepare - the cloth_ 102 - - ---- _Second method_ 104 - - Art. the second, _of the crayons; their - preparation_ 107 - - ---- _And use_ 110 - - Art. the third, _how to fix the crayons_ 112 - - Observations _on the system for painting - with crayons_ 113 - - Remarks on the apparent character of - encaustic paintings 119 - - ---- _On wax_ 121 - - ---- _On varnish_ ibid. - - Experiments 124 - - ---- _First_ 125 - - ---- _Second_ 134 - - Experiments on oil-colours 135 - - Conclusions 138 - - - - -Transcriber’s Notes - -Obvious typographical errors have been silently corrected. Variations -in hyphenation and accents have been standardised but all other -spelling and punctuation remains unchanged. - -Italics are represented thus _italic_. - -*** END OF THE PROJECT GUTENBERG EBOOK ENCAUSTIC *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. 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H. Müntz—A Project Gutenberg eBook - </title> - <link rel="icon" href="images/cover.jpg" type="image/x-cover"> - <style> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2,h3,h4,h5,h6 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -.p2 {margin-top: 2em;} -.h3 {margin-top: 1em; - text-align: center; - font-size: 1.2em; - text-indent: 0em; - font-weight: bold; } - - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} - -table { - margin-left: auto; - margin-right: auto; -} -table.autotable { border-collapse: collapse; } -table.autotable td, -table.autotable th { padding: 4px; } - -.tdl {text-align: left;} -.tdr {text-align: right;} -.tdc {text-align: center;} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: small; - text-align: right; - font-style: normal; - font-weight: normal; - font-variant: normal; - text-indent: 0; -} /* page numbers */ - -.blockquot { - margin-left: 5%; - margin-right: 10%; -} - -.center {text-align: center;} - -.right {text-align: right;} - -.smcap {font-variant: small-caps;} - -/* Images */ - -img { - max-width: 100%; - height: auto; -} -img.w100 {width: 100%;} - - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - -/* Footnotes */ - -.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} - -.footnote .label {position: absolute; right: 84%; text-align: right;} - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: - none; -} - -/* Transcriber's notes */ -.transnote {background-color: #E6E6FA; - color: black; - font-size:small; - padding:0.5em; - margin-bottom:5em; - font-family:sans-serif, serif; -} - - -/* indent paragraphs by default */ -p { text-indent: 1.5em;} - -.footnote { - padding-left: 1.5em; - text-indent: -1.5em;} - - -.noindent {text-indent: 0em} - -.center {text-align: center; - text-indent: 0;} - -x-ebookmaker table {width: 95%} - - -/* Drop Caps */ -/* must tell PPV that you've use "color:transparent" */ - -img.drop-cap -{ - float: left; - height: 3.2em; - margin: 0 0.5em 0 0; -} - -p.drop-cap:first-letter -{ - color: transparent; - visibility: hidden; - margin-left: -0.5em; -} - -.x-ebookmaker img.drop-cap -{ - display: none; -} - -.x-ebookmaker p.drop-cap:first-letter -{ - color: black; - visibility: visible; - margin-left: 0.9em; -} - - -.xbig {font-size: 2em;} -.big {font-size: 1.5em;} - -/* Illustration classes */ -.illowp100 {width: 100%;} -.illowp43 {width: 43%;} -.illowp80 {width: 80%;} -.illowp94 {width: 94%;} - - </style> -</head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Encaustic, by J. H. Müntz</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Encaustic</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>Or, Count Caylus's method of painting in the manner of the ancients. To which is added a sure and easy method for fixing of crayons</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: J. H. Müntz</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: January 20, 2023 [eBook #69846]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Charlene Taylor, Krista Zaleski and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK ENCAUSTIC ***</div> -<figure class="figcenter illowp80" id="halftitle" style="max-width: 91.5em;"> - <img class="w100" src="images/halftitle.png" alt=""> -</figure> - - - - - -<h1> ENCAUSTIC <br>PAINTING.</h1> - -<figure class="figcenter illowp80" id="halftitle2" style="max-width: 91.5em;"> - <img class="w100" src="images/halftitle2.png" alt=""> -</figure> - - -<hr class="chap x-ebookmaker-drop"> - - -<div class="chapter"> -<p class="center xbig"> <b>ENCAUSTIC</b>:</p> - -<p class="center"> OR,</p> - -<p class="center big"> Count <span class="smcap">Caylus’s</span></p> - -<p class="center big"><span class="smcap">Method</span> of <span class="smcap">Painting</span></p> - -<p class="center big"> In the <span class="smcap">Manner</span> of the <span class="smcap">Ancients</span>.</p> - -<p class="center"> To which is added</p> - -<p class="center big"> A sure and easy <span class="smcap">Method</span> for Fixing of - CRAYONS.</p> - -<p class="center p2"> By J. H. MÜNTZ.</p> -</div> -<p class="center"> <figure class="figcenter illowp94" id="titlepage" style="max-width: 43.75em;"> - <img class="w100" src="images/titlepage.png" alt=""> -</figure> - -<p class="center"> <span class="smcap">London</span>: Printed for the <span class="smcap">Author</span>; and - <span class="smcap">A. Webley</span>, at the <span class="smcap">Bible</span> and <span class="smcap">Crown</span> near - <span class="smcap">Chancery Lane, Holborn</span>, 1760. -</p> - -<hr class="chap x-ebookmaker-drop"> -<div class="chapter"> - -<p><span class="pagenum" id="Page_v">[Pg v]</span></p> - -<figure class="figcenter illowp100" id="image-v-a" style="max-width: 88em;"> - <img class="w100" src="images/image-v-a.png" alt=""> -</figure> - -<p class="center">TO THE</p> - -<p class="center"><span class="smcap">Right Honourable</span></p> - -<p class="center big">Richard Lord Edgcumbe,</p> - -<p class="center">Controller of his <span class="smcap">Majesty’s</span> Household.</p> -</div> - - -<p>My <span class="smcap">Lord</span>,</p> - -<div> - <img class="drop-cap" src="images/image-v-b.png" alt=""> -</div> - -<p class="noindent drop-cap">I Should be afraid to offer you the following Treatise if I could -not flatter myself with the hope that its intrinsic<span class="pagenum" id="Page_vi">[Pg vi]</span> Merit, and the -Intention it was writ in, would in your noble and generous Mind -counterbalance the Defects and Improprieties of Language, of which, as -almost unavoidable to a Foreigner, it must of course be guilty of.</p> - -<p>The subject I present you with is known to you long ago; you saw the -first Essays and Experiments in Encaustic; You was pleased to approve -of them, and to express some<span class="pagenum" id="Page_vii">[Pg vii]</span> Satisfaction at the least Picture -executed in this manner. With what greater Advantage could I usher this -new Invention into the World, than dedicating it to You; to make it -known that the <span class="smcap">Greatest Patron</span> of Arts, and the best Judge of -the Merits of Painting approved of it?—Count <span class="smcap">Caylus</span> invented -it; under the Sanction of your Lordship’s Name I offer it to the -Public, and with a grateful<span class="pagenum" id="Page_viii">[Pg viii]</span> Sense for all the Favours and Kindness You -have at all Times shewn towards me.</p> - -<p class="right"> -<span style="margin-right: 6em;">I am, my Lord,</span><br> - -<span style="margin-right: 4.5em;">your Lordship’s</span><br> - -<span style="margin-right: 4.5em;">most obedient</span><br> - -<span style="margin-right: 2em;">and most obliged</span><br> - -<span style="margin-right: 1.5em;">humble Servant,</span></p> -<p class="right p2">J. H. MÜNTZ. -</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_1">[Pg 1]</span></p> - -<h2 class="nobreak" id="ENCAUSTIC">ENCAUSTIC:<br> - -OR,<br> - -<span class="smcap">Method</span> of <span class="smcap">Painting</span><br> - -In the Manner of the <span class="smcap">Ancients</span>. -</h2> -</div> - -<p>A relation of my proceedings, to reduce this singular invention into -a regular system agreeable to reason, and practical in itself, would -be tedious and superfluous: To enter upon the process without giving -the reader some little account of the matter, would be improper. As -something is required to introduce the reader, and as the books<span class="pagenum" id="Page_2">[Pg 2]</span> I -must refer to are not in every body’s possession, I shall in <i>lieu -of introduction</i>, insert the whole as laid before the Royal -Society,—which is as follows.</p> - - -<h3><span class="smcap">Extract</span> of a <span class="smcap">Letter</span><a id="FNanchor_1" href="#Footnote_1" class="fnanchor">1</a><br> - -From the Abbé <span class="smcap">Mazeas</span>, F. R. S.</h3> - -<p class="h3"><i>Concerning an ancient Method of Painting. Revived by Count</i> -<span class="smcap">Caylus</span>.</p> - -<div class="blockquot"> - -<p>Count <span class="smcap">Caylus</span>, a member of the Academy of Inscriptions, -had undertaken to explain an obscure passage in <span class="smcap">Pliny</span> -the naturalist. This author (whom I have not now before me) -says in some place of his works, that “the ancients painted -with burnt wax”<span class="pagenum" id="Page_3">[Pg 3]</span><a id="FNanchor_2" href="#Footnote_2" class="fnanchor">2</a> and we have it from tradition, that -pictures of this kind were very durable.</p> - -<p><span class="pagenum" id="Page_4">[Pg 4]</span></p> - -<p>This was the passage, the count undertook to clear up, in -trying all the different ways that are possible to paint in -wax; and after many experiments, he hit upon a very simple -method, of which he made a secret, in order to excite the -curiosity of the public.</p> - -<p>The several artists who were desirous of knowing by what means -the count came to make this discovery, made several attempts -themselves; but in a great number of trials, only two are worth -mentioning.</p> - -<p>The first was to melt wax and oil of turpentine together,<span class="pagenum" id="Page_5">[Pg 5]</span> -and use it for mixing the colours. But this method does not -at all explain <span class="smcap">Pliny’s</span> meaning; because wax is not -burnt in this way of managing it: and besides, this method has -two defects; the oil of turpentine dries too fast, and does -not allow the painter sufficient time to blend and unite his -colours.</p> - -<p>The second method is very ingenious, and seems to come up to -<span class="smcap">Pliny’s</span> notion very well; it is as follows; the wax -is melted with strong lixivium of salt of tartar, and with -this the colours are ground. When the picture is finished, it -is gradually put to the fire, which increases<span class="pagenum" id="Page_6">[Pg 6]</span> the heat by -degrees; the wax melts, swells, and is bloated up upon the -picture; then the picture is removed gradually from the fire, -and the colours do not at all appear to have been disordered; -the colours then become unalterable by the action of the fire, -and even spirit of wine has been burnt upon them without doing -them the least harm.</p> - -<p>However, the following is the Count de <span class="smcap">Caylus’s</span> -method, which is much more simple; according to which the head -of Minerva was painted,<span class="pagenum" id="Page_7">[Pg 7]</span> which was so much admired by all the -connoisseurs.</p> - -<p><i>First.</i> The cloth or wood designed for the picture is -waxed over, by only rubbing it simply with a piece of bees-wax.</p> - -<p><i>Secondly.</i> The colours are mixed up with common water; -but as these colours will not adhere to the wax, the whole -picture is to be first rubbed over with Spanish chalk, or -whitening, and then the colours are used.</p> - -<p><i>Thirdly.</i> When the picture is dry, it is put near the -fire,<span class="pagenum" id="Page_8">[Pg 8]</span> whereby the wax melts, and absorbs all the colours.</p> - -<p>It must be allowed, that nothing can be more simple than this -method; and it is thought, that this kind of painting is -capable of withstanding the injuries of the weather, and last -longer than painting in oil; which I will not answer for.</p> - -<p>The effect produced by these colours upon wax is very singular; -nor can one have any notion of it without seeing it. The -colours have not that natural varnish or shining, that they -acquire with oil; but you<span class="pagenum" id="Page_9">[Pg 9]</span> are capable of seeing the picture in -any light, or in whatsoever situation you place it; in short -there can be no false glare or light upon the picture for the -spectators: the colours are secured, are firm, and will bear -washing; and have a property, which I look upon as the most -important of any, which is, that they have smoaked this picture -in places subject to foul vapours, and to smoke in chimnies; -and then by being exposed to the dew, it became as clean as if -it had been but just painted.</p> -</div> - -<p>These are all the contents of the letter, laid before the Royal<span class="pagenum" id="Page_10">[Pg 10]</span> -Society by a member of that learned body, who accompanied it with a -series of very acute and learned observations, which, with an extensive -knowledge, shew an inclination to prove that the count’s method could -not be the encaustic of the ancients, and that <i>encausto pingendi</i> -could be nothing else but enameling.——</p> - -<hr class="tb"> - -<p>It is neither my business nor intention to enter into discussions; -it would be too difficult a task to prove that the count’s invention -comes up to <span class="smcap">Pliny’s</span> meaning; no certain evidence can be -brought neither for nor against it. Any discovery that<span class="pagenum" id="Page_11">[Pg 11]</span> tends towards -improvement of arts and sciences is valuable; that the count’s -invention is of this kind, will appear to every unprejudiced mind.</p> - -<p>Therefore it matters not if the ancients did so or not.</p> - -<p>But, to give my opinion only——the numberless experiments I made to -bring the new encaustic into a regular system—the repeated trials to -explain <span class="smcap">Pliny’s</span> meaning any other way that would answer the -general ends of painting, &c. induce me to believe that <i>encausto -pingendi</i> of the ancients could not be enameling, but must have<span class="pagenum" id="Page_12">[Pg 12]</span> -been some manner of painting very near of kin to that which is the -subject of this treatise. Besides the clear and expressive words of -our ancient author—<i>Ceris pingere ac picturam inurere</i>—and -where he speaks of their ship painting—<i>resolutis igni ceris -penicilio utendi</i>—carry a silent proof with them, that the Latin -verb <i>urere</i> ought not to be understood in so fierce a degree as -enameling requires.<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">3</a></p> - -<p>In both the above cited passages <i>cera</i> is in the plural number;<span class="pagenum" id="Page_13">[Pg 13]</span> -and for this very reason I believe it can mean nothing else but -bees-wax simple, or compounded with other ingredients capable to -sympathise therewith.</p> - -<p>It would be ridiculous to suppose the Latin tongue so defective in -<span class="smcap">Pliny’s</span> time, as not to afford two distinct names for two -things so opposite as enameling and ship painting are.</p> - -<p>I cannot conceive what good enamel would or could do to their ships, -without undergoing the operation of the fire after being painted. Nor -can I<span class="pagenum" id="Page_14">[Pg 14]</span> form any idea of a Roman enameled first-rate man of war.</p> - -<p>The most probable reason, for <span class="smcap">Pliny’s</span> not giving a better -account of particulars may be, that he knowing nothing at all of the -matter, used the term of art then in vogue; or was imposed upon by -artists who did not chuse to part with the secret of their art.</p> - -<p>Instances of this kind we have every day.——Arts and trades abound -with jargon and mystical names, which, if taken or explained literally, -would often prove but little analogous to their subject. Writers that<span class="pagenum" id="Page_15">[Pg 15]</span> -pay no regard to that, and without farther scrutiny speak and relate -what they are told, must of course be unintelligible. Hence it comes -that most of our dictionaries on arts and sciences, and the greatest -number of books on painting, are so perplexing; and in many a point -rival <span class="smcap">Pliny</span> in obscurity.</p> - -<p>To write upon a subject and unfold its mystery, one ought to be -practically acquainted with it; a superficial drawing is not enough; to -teach others how to go to work, the section is wanted.</p> - -<p><span class="pagenum" id="Page_16">[Pg 16]</span></p> - -<p>If all books upon arts and sciences, manufactures and mechanics, had -been or could be written by the respective professors thereof, things -would appear in another light; we should, perhaps, not have the finest -language in those performances; but we do not want that, plain truth -and common sense is all that is required; if a guide leads us the right -way, we need not mind his dress.</p> - -<p>I shall make no apology for this performance of mine: if the contents -do not speak for themselves, my abilities as a writer would but weakly -support them, only as new inventions<span class="pagenum" id="Page_17">[Pg 17]</span> are frequently condemned for no -other reason but because they are new; it becomes me to acquaint the -public, that I should never have gone so far as to publish this system, -if I had not been convinced of its merit by experience and practice; I -made many and various experiments (as will be mentioned in the sequel) -to ascertain its stability; and having painted several pictures of -different sizes, I can answer for its practicability. In short, it -is a manner of painting susceptible of all the boldness, freedom and -delicacy of any other whatsoever; you may leave off and cherish your -work at pleasure,<span class="pagenum" id="Page_18">[Pg 18]</span> you cannot fatigue your colours, you are not subject -to that inconvenience attending oil painting, viz. of setting one’s -picture by to dry, &c.</p> - -<p>You will have all the effects and sweetness of painting in oil, and -the colours will not be liable to fade and change; no damp can affect -it, no corrosive will hurt it; nor can the colours crack and fall in -shivers from off the canvas.</p> - -<p>Let no-body think me too positive, or intoxicated with my own notions, -before they have gone through the whole treatise, and made a few -experiments.<span class="pagenum" id="Page_19">[Pg 19]</span> I advance facts, and not conjectures only.</p> - -<p>It is not my intention to quarrel or depreciate oil painting, nor -will I attempt to deny its true merit; therefore hope it will not -be considered as a crime to propose a method that will equal its -perfections, and surpass it for duration and stability of colours. I -tell artists what I know, they may do what they judge proper. Though -I bestow encomiums upon my subject it is not with a design to impose; -I am not self-conceited, or foolish enough to think or believe that -Rynolds or Ransey, Scott or<span class="pagenum" id="Page_20">[Pg 20]</span> Lambert, &c. &c. will take up at once and -prefer my new system to that they practised for many years with success -and applause—they, and every body else, may try; a trifling expence, -and a few idle hours will afford experiments by which they will know -if what I advance will really be an advantage to their works and -themselves. And how far it will answer, either whole or in part, the -general ends of painting, one single sketch will be enough to judge by; -in arts, one experience is worth a thousand conjectures.</p> - -<p><span class="pagenum" id="Page_21">[Pg 21]</span></p> - -<p>In the prosecution of my system, oil-colours came always in for a part -of the experiment, in opposition to those fixed with wax, in order to -judge better and with more precision of their variation. By this it -happened that I often painted oil-colours over a waxed ground; which -colours always appeared brighter and cleaner than the very same painted -over an oil-cloth; at least I fancied that dead colouring in water -colours and finishing in oil, was an experiment worth trying. For this -purpose (as portrait painting is not my province) I pitched upon a head -of Sir Godfrey Kneller, a gentleman and friend had<span class="pagenum" id="Page_22">[Pg 22]</span> sent me to copy -small in oil; accordingly I dead coloured it in water colours and fixed -them with wax, and afterwards finished it in oil-colours, not only to -my satisfaction and surprize, but every body’s else that saw it; the -brightness and transparency of its colours is not to be conceived. I -copied the same head again in oil-colours only, and with all imaginable -care and attention, but the colouring of the latter looked dull in -opposition to the other<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">4</a>; to give reasons for this incident<span class="pagenum" id="Page_23">[Pg 23]</span> is more -than I can do; I shall give a few conjectures, and conjectures only, -upon it, under the article of experiments.</p> - -<p>If I should not gain the approbation and good will of the oil painting -faculty, for a few hints: I am sure those artists who profess painting -in crayons will be beholden to me for what I shall communicate to -them—a method to fix crayons or pastelle.</p> - -<p>Every body knows the beauties and pleasing effects of those paintings -and their perishable qualities so well, that to enlarge upon is -needless to bestow<span class="pagenum" id="Page_24">[Pg 24]</span> great encomiums upon my secret, which is so closely -connected with encaustic for the pencil, and whose merit has already -been mentioned, would be superfluous; the process and experiments I -am now going to unfold will be of more weight than all my reasonings -previous thereto.</p> - -<p>To make the whole familiar and easy to all capacities, I thought it -convenient to lay down the whole penciling system under five different -articles or periods, according as they succeed each other in the -execution; and to keep the thread of the proceeding uninterrupted,<span class="pagenum" id="Page_25">[Pg 25]</span> I -shall make a few observations upon every article in particular, and -there give and explain the different methods that may be practised for -the same end, together with my reason, and why I deviated in some parts -from Count <span class="smcap">Caylus’s</span> system.</p> - -<p>The operations for painting with crayons will be treated and explained -separately, and upon the same plan. Lastly, the experiments will come -in to illustrate both, and verify what I advance.</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_26">[Pg 26]</span></p> - -<h2 class="nobreak" id="ART_I">ART. I.</h2> -</div> - -<p class="h3"><i>Preparation of the cloth for painting in Encaustic.</i></p> - - -<p>Take any sort of clean linen cloth whose texture is pretty close, -soft and even, stretch it upon a straining frame, as you would do an -oil cloth, lay it upon a smooth table, the side your are to paint on -downwards, then with a piece of common bees- or virgin-wax rub it over -and over, till you perceive a good quantity of the wax adhere to the -cloth, in equal proportion over the whole.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">5</a></p> - -<p><span class="pagenum" id="Page_27">[Pg 27]</span></p> - -<p>Your cloth thus waxed is ready to paint upon if it be fine; if it is -coarse, turn it, and with a pumice stone gently rub over the side which -is to receive the colours, to take off all the knots and unevenness -that might obstruct the free flowing of your pencil.</p> - -<p>If you want to paint a picture of any determined size, provide a -straining frame, whose inner circumference is equal to the height and -width required; that is to say, you must<span class="pagenum" id="Page_28">[Pg 28]</span> have two frames, the one to -work and finish your picture upon, the other whereon the picture is -to go and remain when finished. The first must be of such height and -width, as to contain between its inner edges cloth enough to cover the -second. No part of the cloth you paint over ought to touch the wood of -the frame, if it did the wood would imbibe part of the wax, when the -picture is brought near the fire, and leave those parts imperfect.</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_29">[Pg 29]</span></p> - -<h2 class="nobreak" id="ART_II">ART. II.</h2> -</div> - -<p class="h3"><i>Of the colours and their preparation.</i></p> - - -<p>All colours used in oil painting are fit for this manner, and no -others. There are a few that ought to be omitted; for reason see the -list of colours.</p> - -<p>Grind all your colours very fine with simple water, allot to every -particular colour a distinct vessel, such as gallipots, pans, &c. From -your colours so ground, compose all the different principal tints, as<span class="pagenum" id="Page_30">[Pg 30]</span> -the nature of your intended work shall require.</p> - -<p>But, as most of the colours acquire a deeper hue when moistened, and -some deeper still when fixed with wax, it will be necessary, to prevent -perplexity in the execution, to have a guide for retouching, either -when the picture is finished and dry, before the operation of the fire, -or after it is fixed; for this purpose you may, before you go to work, -use the following expedient.</p> - -<p>Take two slips of cloth about a foot long, and three or<span class="pagenum" id="Page_31">[Pg 31]</span> four inches -wide, wax them as before mentioned, then upon the one slip paint -of every one of your entire colours<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">6</a> about an inch high over the -whole width of the cloth, and with your tints already composed do -the same upon the other piece of cloth, according to their order and -degradation;<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">7</a> mark every tint with a number, such as 1, 2, 3, &c. -write down upon a paper every number, and what it is composed of. This -done and your colours so applied dry, cut your cloth across all the -tints from<span class="pagenum" id="Page_32">[Pg 32]</span> top to bottom in two equal parts; bring one half of each -near the fire, and by melting the wax fix them, the other two halves -you keep as they are unfixed.</p> - -<p>By rejoining and comparing them together, you may judge what strength -every tint will acquire, and by their reciprocal references you will -be enabled to alter or imitate, deepen or heighten with certainty, any -tint, either before or after the colours are fixed.</p> - -<p>In painting be not sparing; the greater body of colours you employ, -the better and brighter<span class="pagenum" id="Page_33">[Pg 33]</span> your work will appear; you may give greater -freedom to your pencil, blend and sweeten your colours better than in -any other way of painting.</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak" id="ART_III">ART. III.</h2> -</div> - -<p class="h3"><i>How to paint over or alter any part before the picture has been near -the fire.</i></p> - - -<p>If the parts of the picture you want to retouch are large and the -colouring dry, take a large soft hair pencil, and with water gently -moisten those places, or the whole picture if you please, and repaint -till your eye is satisfied. You might<span class="pagenum" id="Page_34">[Pg 34]</span> paint over, or alter any part -without moistening, but on a first trial you would not so well see -what you are about. While the picture is wet it appears very near -what it will be when fixed; when it is dry it looks like a weak dead -colouring in oil. You will see enough to judge of the general effect, -but none of the tenderer half tints will appear discernable enough to -judge of them with precision. In large pictures where the cloth will be -required stronger, a picture is kept wet with great ease and security, -by moistening it on the back with a large brush as often as there is -occasion, for the<span class="pagenum" id="Page_35">[Pg 35]</span> water will soon soak through the texture and take -hold of the colours; there is no danger of disturbing them on the other -side with the action of the brush, by reason of the substance of the -cloth.</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak" id="ART_IV">ART. IV.</h2> -</div> - -<p class="h3"><i>To fix the colours by melting the wax.</i></p> - - -<p>When your picture is finished and dry, have a good clear fire of -sea-coals,<span class="pagenum" id="Page_36">[Pg 36]</span><a id="FNanchor_8" href="#Footnote_8" class="fnanchor">8</a> approach your picture with the painted side towards it, -at about two feet distance, let it grow warm by gentle degrees, always -approaching nearer, till within a foot distance from the grate, but -never closer, holding your picture perpendicularly or a little inclined -as you shall find necessary. If the picture is large do one half first, -then the other; there is not the least difficulty for any size.</p> - -<p>When you perceive by the hue and shining of the painted surface that -all is perfectly absorbed; then remove it gradually from the fire as -you advanced<span class="pagenum" id="Page_37">[Pg 37]</span> it, and your picture will be done.</p> - -<p>If you see any place defective for want of a sufficient quantity of -wax,<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">9</a> put a little finely scraped wax on the back of that place, then -bring only a red hot poker, or some such thing towards it, the wax will -immediately settle in its place. If there are many parts so defective, -put scrapings of wax there, and bring the whole picture before the fire -as above mentioned. There is no danger in bringing the picture to<span class="pagenum" id="Page_38">[Pg 38]</span> -the fire as often as required, provided you never give it too great -a degree of heat; if you do, the wax will raise in bubbles upon the -surface, and your picture will look rough and uneven.</p> - -<p>Advance your picture never too hasty, nor retire it too quickly; if -you do the former, the sudden action of the fire might disturb some of -the colours; if the latter, the wax will not retire enough within the -texture of the cloth, consequently lye too much above the colours and -look glaring. If you perceive any such glaring spots or places upon -your picture, or (in<span class="pagenum" id="Page_39">[Pg 39]</span> other words) parts that appear varnished like, -and that appearance should proceed from too great a quantity of wax, -paint those places over on the back with whitening, or any one of your -other colours, and when dry bring the picture near the fire, as above -mentioned, and those colours or whitening will imbibe the overplus of -the wax. Repeat that if required.</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_40">[Pg 40]</span></p> - -<h2 class="nobreak" id="ART_V">ART. V.</h2> -</div> - -<p class="h3"><i>How to retouch or paint over any part after the colours are -fixed.</i></p> - - -<p>Put upon your pallette such of your tints as will be fit for the place or -parts you want to alter or paint over, temper and employ them with a -little spirit of wine;<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">10</a> repaint, and bring the picture to the fire -as often as required, and those retouched parts will become<span class="pagenum" id="Page_41">[Pg 41]</span> fixed like -any other part of the picture.</p> - - -<h3><i>Observations on article the first.</i></h3> - -<p>As linen cloth is the material most commonly and preferably used, as -the fittest and most convenient to paint upon, I chose to give under -Article the first, directions for that purpose only; for though the -wax and colours may be applied to cloth and other materials in several -different manners, I, not to bewilder the beginners in multiplicities -on a first setting out, gave and recommend that, which besides<span class="pagenum" id="Page_42">[Pg 42]</span> its -being the likeliest to be most practised, is the best for solidity, -and will prove to every practitioner the easiest, most agreeable, -expeditious and convenient for execution.</p> - -<p>But not to deprive the artists and curious of the several means and -methods that may be practised for and towards the same end, I shall -here give some of the principal ones, as well for painting upon canvas -as upon wood, plaister, &c. but first of all I shall consider and treat -Count <span class="smcap">Caylus’s</span> system a little more at large, and shew why -I have deviated from it in this particular, and leave<span class="pagenum" id="Page_43">[Pg 43]</span> the artist at -liberty to adopt and practise which suits him best.</p> - -<p>The Count’s method for preparing the cloth consists, in stretching it -upon a frame, and holding it horizontally over, or perpendicularly -before a fire (at a distance convenient and proportionable to the -degree of heat it casts) and rubbing it with a piece of wax; which, -melting gradually as it is rubbed on, diffuses itself, penetrates -the body, and fills the interstices of the texture of the cloth, -which when cool, is fit to paint upon; but, as water colours will not -adhere regularly flowing and<span class="pagenum" id="Page_44">[Pg 44]</span> connectedly to the wax, He, to remedy -this inconveniency, makes use of an intermediate body, viz. chalk or -whitening, with which he rubs over that surface of the waxed canvas he -intends to paint upon, and then the colours will easily flow over and -adhere to it.</p> - -<p>Now, though this way of proceeding is very simple and successfully -practicable for small subjects;—for instance,—such as the head -of Diana, mentioned in the Abbé’s letter, or any other that may be -finished in a couple of hours, and while the colours upon the canvas -retain moisture; yet, to execute<span class="pagenum" id="Page_45">[Pg 45]</span> pictures of a larger size and -composition, which will require many a day’s labour and application, -and whereof no part can be finished positively at the first onset, this -manner of managing it will not answer so well, as that given under Art. -the first, for the following reasons.</p> - -<p><i>First.</i> In painting upon the wax by virtue of the whitening, you -will not have that conveniency of retouching or altering of any part, -and before the colours are fixed, so well, as painting upon the raw -and bare canvas will afford you; because the texture and fibres of<span class="pagenum" id="Page_46">[Pg 46]</span> -the cloth being thoroughly invaded by the wax, there remains nothing -for water colours to fix or adhere to, capable to retain them; those -colours once dry, the slightest touch of a moist pencil will, as it -were, attract them, and frequently make and leave a bare spot; so -that in attempting to retouch, instead of adding fresh colours, you -will fetch off the old ones: for though the rough edged particles of -the chalk facilitate to the first colours an adhesion upon the smooth -body wax yet, water the vehicle of the colours, being the menstruum of -chalk, by discomposing it destroys part of its<span class="pagenum" id="Page_47">[Pg 47]</span> power and virtue, and -renders it incapable to perform the first service a second time.</p> - -<p><i>Secondly.</i> Upon canvas fully imbibed with wax, you can neither -use so great a body of colours, nor employ them with such freedom, -boldness, or delicacy as you may upon cloth, whose texture is not -pre-occupied with wax—the reason is obvious—the one has its pores -and interstices filled up with wax; the other’s you must fill up with -colours. Cloth, a firm spungy body or substance, in sucking in the -water attracts the colours along with it into its pores, and thereby -facilitates the firm<span class="pagenum" id="Page_48">[Pg 48]</span> and delicate strokes; and the colours mixing and -adhering to its numberless fibres, will not come off on retouching, -before the picture is fixed; you may cherish or leave your work -at pleasure without detriment or inconveniency arising from that. -Advantages that cloth pre-occupied with wax is incapable of.</p> - -<p><i>Thirdly and lastly.</i> By painting on canvas prepared according -to the directions of Art. the first, your works will be more solid -and lasting, because the colours will not simply lay upon the surface -of the wax, but cloth, wax and colours will<span class="pagenum" id="Page_49">[Pg 49]</span> make but one individual -body.—Thus much on my deviation from Count <span class="smcap">Caylus’s</span> system, -in regard to the preparation of the cloth.</p> - -<p>For painting upon walls or plaister where the wax cannot be applied on -the back, the Count’s system must be practised; it will succeed well; -the rough and gritty grain of the plaister will take and retain a -sufficient quantity of colours to insure solidity; the only difference -between painting upon cloth and plaister consists in this; painting -upon canvas you can finish your picture entirely<span class="pagenum" id="Page_50">[Pg 50]</span> before you fix it; -in painting upon plaister, you must proceed as you do in painting with -oil-colours, viz. first, dead colour your subject and fix it, and then -paint it over again and finish it, either by virtue of the chalk, or -by tempering and employing the colours with some spirit, or oil of -turpentine. You may too paint and retouch with crayons.</p> - -<p>Upon wood, stone, and metals,—you must proceed as you do upon -plaister; but as there is no grain you must procure an artificial one, -after your board is waxed, by laying on a<span class="pagenum" id="Page_51">[Pg 51]</span> ground of any colour mixed -with half chalk and fix it<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">11</a>; upon this you may paint with water -colours or crayons, as sweetly as upon canvas.</p> - -<p>To paint upon paper;—you must have a smooth board, or copper-plate of -a convenient size, and well waxed; upon this you fasten your paper by -the corners and paint upon; the colours dry, present it to the fire, -and the wax underneath the paper melting, will soak and penetrate -through and<span class="pagenum" id="Page_52">[Pg 52]</span> fix the colours; this method may be successfully practised -with cloth.</p> - -<p>There are two more methods remaining to be practised on cloth and -paper; but as they make part of the system for painting with crayons, -and will be described under that head, I omit to mention them here.</p> - -<p><span class="pagenum" id="Page_53">[Pg 53]</span></p> - - -<h3><i>Observations on Article the second.</i></h3> - -<p>In grinding the colours upon the stone, and managing them upon the -pallette, care should be taken not to use an iron knife, the steel -or iron that grinds off, in mixing with the colours spoils their -brightness and vivacity; flake-white and white-lead, yellow-oker, -lacque and light-red, suffer greatly by it, it gives them a dull and -dirty cast; Naples-yellow suffers most of all from it; its vivacity -is entirely destroyed by the iron’s touching it. Horn, ivory, or -tortoise shell knives, or<span class="pagenum" id="Page_54">[Pg 54]</span> wooden spatulas are fitter for all manner of -painting; they will affect no colours; iron knives have destroyed many -a tender complexion in oil-colours; for, the oil once dry, the iron -ground off from the knife and mixed in the colours will be converted -into rust by the moisture of the air.—Tho’ this little hint is foreign -to our present subject, it will perhaps not be unacceptable to my -brethren.—It is an essential point in an architect to be acquainted -with the qualities and properties of the materials he builds with, if -his plan and stile, dispositions, proportions, &c. be<span class="pagenum" id="Page_55">[Pg 55]</span> ever so good, -noble, grand and graceful, yet if his fabric falls down as soon as -built, we are but little beholden to his skill.—Vandyke, I believe, -never used an iron knife, if he had he would not have painted a spatula -of horn in one of his pictures, wherein all the utensils of a painter -accompany his own figure.—</p> - -<hr class="tb"> - -<p>The expedient recommended under Art. the second, for establishing a -standard for all the differing principal tints that may be required for -any subject, will be of use to them who are not much acquainted with -painting in water colours;<span class="pagenum" id="Page_56">[Pg 56]</span> and to ladies and gentlemen, who painting -only now and then for their amusement, cannot have so thorough a -knowledge of the value of each colour, and might therefore be at a loss -how to retouch, after the colours are fixed.</p> - -<p>To make the directions given for that purpose more intelligible, and -to point out the use of such a standard—let us suppose—the annexed -copper plate figure A. B. C. D. to be a piece of cloth, about a foot -long and three or four inches wide, waxed on the back, as directed -under Art. the first, and the divisions a. b. c. d. e. f. g. h. &c. be -the tints painted,<span class="pagenum" id="Page_57">[Pg 57]</span> according to their order and degradation, across -the whole width of the cloth A. B. these tints dry, cut the piece of -cloth across all the tints from top E. to bottom F. in two equal parts, -bring the one half A C near the fire, and by melting the wax fix it, -the other half B D you keep as it is unfixed.</p> - -<p>Now, the half A C being fixed, will shew you at one glance what -strength every tint will acquire; and if you moisten again the other -half B D, or paint the same tints upon a fresh piece of cloth, you will -see which are the colours that grow deeper still, fixed with<span class="pagenum" id="Page_58">[Pg 58]</span> wax than -they appear when only moistened with water, and the references 1 2 3 4 -5 &c. telling you what each tint is composed of, you will be enabled to -amend any one that might be amiss. Farther, when your picture will be -fixed and it should want retouching, and you should be at a loss for -hitting of the tint or hue required for that purpose,—bring only the -fixed half A C upon the picture and compare them, and you will easily -find what you want; again, if you want to renew any tint that is spent, -find that tint upon the picture, with the fixed half A C, when found -compare it to, and<span class="pagenum" id="Page_59">[Pg 59]</span> moisten its fellow upon the unfixed half B D, and -that will give you again the original hue, and the references 1 2 3 4 -&c. will tell you what that tint is principally composed of.</p> - -<figure class="figcenter illowp43" id="facing058" style="max-width: 36.5em;"> - <img class="w100" src="images/facing058.png" alt=""> -</figure> - -<p>Tho’ professed artists (whose long experience enables them to judge -of the value of each colour) will not have absolute occasion for the -comparative use of such a standard, yet they will not do amiss to make -an essay of their tints before they employ them.</p> - -<p><span class="pagenum" id="Page_60">[Pg 60]</span></p> - - -<h3><i>Observations on Article the third.</i></h3> - -<p>The being able to work and retouch at pleasure, and at any time, -without fatiguing the colours, or any other detriment arising from it, -is an advantage peculiar to encaustic only; for, the new colours will -unite with the old ones without making spots, as is the case in common -size-painting; nor will there be that inconveniency of rubbing the -places to be retouched over with oil, as is the case with oil pictures; -the only seeming difficulty to a beginner, will<span class="pagenum" id="Page_61">[Pg 61]</span> consist in the colours -growing paler and weaker in drying, but as a picture is easily kept -wet, by moistening it now and then as above directed, the difficulty -vanishes. Pictures of any size may easily be kept wet for several days, -by applying a double wet cloth on the back; but a little practice will -render that precaution unnecessary.</p> - -<p>Every body in the least acquainted with colours, knows that water -colours, tempered or employed either with gum or size, grow paler and -lighter in drying, and that they acquire their true tone only when<span class="pagenum" id="Page_62">[Pg 62]</span> -dry;—in encaustic they grow paler and lighter too in drying, but -they recede from and lose their true tone.—Encaustic is the reverse -of size-painting as to effect, while you are at work and the colours -wet;—of the latter you cannot judge positively until the colours are -dry; of the former you can only judge while the colours are wet, or -which is the same, when fixed with the wax.</p> - -<p><span class="pagenum" id="Page_63">[Pg 63]</span></p> - - -<h3><i>Observations on Article the fourth.</i></h3> - -<p>The most essential point in encaustic—the fixing of the colours—is -the simplest and easiest for paintings of any size, moveable or -immoveable. A surface of forty feet may be fixed as conveniently as -a picture of twelve inches; for if the painting be too large to be -brought near the fire, or immoveable on a wall, bring that agent to the -painting;——a square copper or iron chest, or box, such as commonly -used for warming or airing of beds, with a red hot iron or lighted<span class="pagenum" id="Page_64">[Pg 64]</span> -charcoal in it, will do the business admirably well, by passing it -in a direction parallel to and before the painted surface, at a -distance proportionable to the degree of heat it casts,—a <i>brasier -ambulant</i>, with a cover to prevent the ashes from flying about, -with charcoal well lighted, will answer the end too, by inclining the -picture over it,—an instrument of iron like a baker’s shovel, with a -long handle and made red hot, will perform the same service, if waved -in a parallel direction before the painted surface; and by heating it -again, when grown cool, with such an instrument one may fix paintings -of the<span class="pagenum" id="Page_65">[Pg 65]</span> largest size; it matters not if the whole be fixed at once, or -in parts at different times.</p> - -<p>The directions for rectifying of any defects arising from too small a -quantity of wax, are so clear, simple and sufficient, that they want -but little explanation or addition; only, you may instead of wax simple -use wax dissolved in such a quantity of oil of turpentine, as to make -it when cool, fluent enough to be employed with a brush on the back of -the picture, which, when brought to the fire, the wax will settle with -the colours, and the turpentine will fly off.</p> - -<p><span class="pagenum" id="Page_66">[Pg 66]</span></p> - -<p>My saying under the above article that the sudden action of the fire -might disturb some of the colours, must not be understood in regard -to the wax, but in regard to the nature of the colours, which, if the -picture be brought too near the fire at once, will be scorched before -the wax can melt and penetrate the texture to screen and secure them.</p> - -<p><span class="pagenum" id="Page_67">[Pg 67]</span></p> - - -<h3><i>Observations on Art. the fifth and last.</i></h3> - -<p>The facility and conveniency for retouching a picture after the colours -are fixed, without the new colours differing from the hue of the old -ones, is an advantage no other manner of painting is possessed of.</p> - -<p>In oil painting you cannot do it so well except you paint over large -parts, because the colours in drying acquire a yellower hue, than they -have while fresh; there will always<span class="pagenum" id="Page_68">[Pg 68]</span> be a difference between the very -same tints; besides, oil pictures are frequently greasy-like and refuse -the new colours, so that you are obliged to rub those parts with oil, -to make the new colours adhere to and flow over the old ones, which -rubbing with oil very often makes a dull and yellow spot when the -colours are dry; in size-painting it is worse, retouchings there in -general appear hard, and in large masses of a uniform colour,—such -as sky’s—produce spots.——Encaustic is free from all that; you may -glaze with a body of colours as thin and as transparent<span class="pagenum" id="Page_69">[Pg 69]</span> as you please, -without your colours changing of tone. By retouching with crayons upon -the fixed colours, the sweetest effects may be produced in landscapes -and figures; nay, for retouching only here and there, I should prefer -crayons. For instance—to finish a head,—and give the decisive -strokes about the eye, mouth, hair, and sharp folds of linen, &c. in -landscapes—for the extremities of trees, &c. the smart touch of a -crayon will be preferable to the pencil.</p> - -<p>When your picture is entirely finished, and you should want<span class="pagenum" id="Page_70">[Pg 70]</span> to give -the canvas more solidity, you may paint it over on the back with any -colour or tint, and bring it again and for the last time to the fire, -to fix that colour; if you apprehend there is not wax enough, apply a -little dissolved in spirit of turpentine, as mentioned in the foregoing -observations on Art. iv. this fixed take your picture off from the -frame, and stretch it upon that whereon it is to remain.</p> - -<p>Having now done with the process for painting in encaustic with the -pencil, which notwithstanding its simplicity might<span class="pagenum" id="Page_71">[Pg 71]</span> appear to some -beginners intricate, because I pointed out all the difficulties that -possibly may occur in the execution,—to comfort and encourage those -that might think the task hard, I shall recapitulate, and reduce the -whole within this compass.—<i>Stretch a piece of cloth upon a frame, -rub the back of that cloth with wax, paint your subject on the other -side, with colours prepared and tempered with water, and when dry bring -the picture near the fire, and by melting the wax fix the colours.</i></p> - -<p>N. B. I might have said much more, and dwelt longer<span class="pagenum" id="Page_72">[Pg 72]</span> on several -particulars; but as the only aim of this treatise is to communicate the -discovery to artists, and others already acquainted with the management -of colours, and not to form pupils from beginning, I omitted saying any -thing of composing the tints and disposing the colours on the pallette, -&c. Every artist may go on in his accustomed method; the use of all the -colours is in encaustic as in oil, as may be seen by the following list.</p> - -<p>The direction for painting with crayons will illustrate some passages -of the foregoing process, and what other advantages<span class="pagenum" id="Page_73">[Pg 73]</span> encaustic painting -will have over oil and size-painting will be shewn by conclusions drawn -from the experiments.</p> - -<p class="h3"> -<i>The end of the first part.</i><br> -</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_74">[Pg 74]</span></p> - -<h2 class="nobreak" id="List_of_the_Colours"><span class="smcap">List</span> of the <span class="smcap">Colours</span><br> - -To be USED for<br> - -Painting in Encaustic;<br> - -AS ALSO FOR THE<br> - -<span class="smcap">Composing</span> of the <span class="smcap">Crayons</span>. -</h2> -</div> - -<h3>WHITE.</h3> - -<p class="h3"><i>Flake-white, and white-lead, or ceruss.</i></p> - -<p>For painting in encaustic, I mix always both together half and half; -flake-white alone is subject to raise too much little bubbles in -employing it<span class="pagenum" id="Page_75">[Pg 75]</span> with water, which the admixture of the other prevents; -besides, both together make a better and more solid body; tho’ -flake-white is the whitest of the two, to use either alone I should -prefer the second. The Venetian or Dalmatian white-lead is by far -the best for all manner of painting; being prepared with a purer and -subtler acid it is whiter and purer than any other whatsoever, and -preferable to flake-white; next to it is the German or Dutch; French -or English ceruss are in general but indifferent, in experiments I -frequently found the latter to have one third of marle or chalk in its -composition;<span class="pagenum" id="Page_76">[Pg 76]</span> which is the cause of its growing so soon yellow, dull -and dirty in oil.</p> - -<p>In composing of the crayons it will be well to observe the above -mentioned proportion of half and half, as by the doing so, much pipe -clay will not be required to bind them.</p> - - -<h3>YELLOWS.</h3> - - -<ul><li> Naples-yellow,</li> -<li> Light-oker,</li> -<li> Brown-oker,</li> -<li> Yellow-orpiment, or,</li> -<li> King’s-yellow,</li> -<li> Red-orpiment,</li> -</ul> - -<p class="noindent">are all perfectly good and necessary for our purpose.</p> - -<p><span class="pagenum" id="Page_77">[Pg 77]</span></p> - -<p>Naples-yellow is the only colour that ought to be used in composing -the tenderer flesh tints of women; it proves a very tender, bright -and beautiful lasting colour for all manner of painting, if properly -prepared and managed, if not, a dirty, weak and treacherous one, and -particularly in oil. It is a mineral compound of lead, antimony, -sulphur, and some arsenic, which latter is the cause of its changing, -and hurting other colours, and particularly the white, so much -complained of by the painters.</p> - -<p>Though this yellow fixed with wax will not change; yet<span class="pagenum" id="Page_78">[Pg 78]</span> it will not be -amiss to insert a method to clean, and purify it, so as to render it -beautiful and lasting for oil and other uses. To clean it do as follows.</p> - -<p>Take crude Naples-yellow, (the heaviest for bulk is the best) and break -it into small pieces with the mallet upon the grinding stone, put it -in a clean earthen vessel, and pour over it a quantity of new milk, -sufficient to cover it three or four inches over, stirring it well for -some time with a wooden spatula or stick; then let all together stand -undisturbed for five or six days, and the milk will become thick and -sour, and<span class="pagenum" id="Page_79">[Pg 79]</span> master by its acidity the noxious saline principles of the -colour; having stood the abovementioned time, take off the creamy part -from the top of the milk, and pour warm water upon it, and let the -vessel overflow till you perceive the water to come off as clear as -when poured on, and the colour will be purified and fit for use.</p> - -<p>Light-oker, a precipitated, feruginous earth, answers in encaustic all -the purposes it does in oil.</p> - -<p>Brown-oker, a precipitated feruginous earth too, only it<span class="pagenum" id="Page_80">[Pg 80]</span> partakes a -little of a vitrioline principle, which the light-oker does not. In -encaustic this colour answers all the purposes it does in oil.</p> - -<p>Yellow orpiment, or king’s-yellow. The principal constituent particles -of this colour are, sulphur and arsenic, which latter prevails and -makes great havock among the other colours when used in oil; it cannot -play the same tricks fixed with wax; wax being a closer and unvariable -body, confines its arsenical principle. Oil once dry ceases to be oil, -and can confine them no longer.</p> - -<p><span class="pagenum" id="Page_81">[Pg 81]</span></p> - -<p>Red-orpiment, so called to distinguish it from the other, is properly -not red, but of a rich orange colour, and is a compound of arsenic and -sulphur too; but here sulphur prevails, which is the reason of its -standing its ground better and doing less harm in oil than the other.</p> - -<p>In encaustic it is of universal use, throughout a whole picture to give -warmth to lights and shades; in landscapes it may be used from the -horizon down to the fore ground, to good purpose; for shades in flesh -it is admirable, it gives a clear, soft and transparent strength;<span class="pagenum" id="Page_82">[Pg 82]</span> in -the verdure of landscapes it answers all the ends for brown-pink, when -mixed with a little bone black.</p> - -<p>This colour is very conspicuous in all the warmer landscapes of Claude -Lorraine; Mr. Vernet a famous French painter uses it very much.</p> - - -<h3>PINKS.</h3> - -<p class="h3"><i>Light-pink, and brown-pink.</i></p> - -<p>These two colours ought rather not be used, as they both proceed -from the same vegetable principle, viz. the juice or extract got by -decoction from French berries by the<span class="pagenum" id="Page_83">[Pg 83]</span> help of acid salts; consequently -incapable to sympathise with or admit wax into their pores<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">12</a>; the wax -can take hold of them only superficially, which makes them appear dry -and gritty upon the picture, and will easily come off by rubbing them -with one’s finger. Those artists who cannot do without them, will do -well to grind them, the light-pink with a little light-oker, and brown-pink -with a<span class="pagenum" id="Page_84">[Pg 84]</span> little brown-oker, and they will keep a little better; but -red-orpiment and a little bone black, making as fine a pink as that -properly so called, it will be best to use the latter.</p> - -<h3>REDS.</h3> - - -<ul><li> Lake,</li> -<li> Vermilion, or</li> -<li> Cinnabar,</li> -<li> Minium, or</li> -<li> Red-lead,</li> -<li> Light-red, or</li> -<li> Light-oker calcined</li> -<li> Brown-red, or</li> -<li> Brown-oker calcined</li> -<li> Indian-red,</li> -</ul> - -<p class="noindent">are all properly qualified for encaustic.</p> - -<p><span class="pagenum" id="Page_85">[Pg 85]</span></p> - -<p>Care must be taken to have the lake good; that which is commonly sold -under the name of Florence lacque, and recommended as the best, is in -general the worst; it is usually in small hard grains, which hardness -is owing to gum arabic, or what is worse, to that glutinous substance -which oozes out from the cherry tree, put in by the fabricant (of the -lake) to bind and keep the grains together, and make it appear better -merchandise than it really is; such lake will scale off from the -canvas; the gum it is impregnated with hinders the wax from penetrating -its pores—every body knows that<span class="pagenum" id="Page_86">[Pg 86]</span> lacque is made of cochineal; there -is a bastard lake made of Brazil wood, but that is easily known by its -dullness. The best lake for our purpose is that which is of a fine, -clear, deep hue, easily to be broken and crumbled between the fingers. -The finest and best lacque I ever saw and used, is made here in England -by an ingenious artist in the seal engraving way.</p> - -<p>Vermilion, or cinnabar, answers in encaustic all the purposes it does -in oil.</p> - -<p>Minium, will be of infinite service for painting with the<span class="pagenum" id="Page_87">[Pg 87]</span> pencil and -crayons; it will not change fixed with wax, as it does in oil; it -may be used to advantage in some carnations or flesh tints; and in -landscapes to enliven the oker, for great lights.</p> - -<p>Light-red, or light-oker calcined, is of the same universal use in this -manner of painting as it is in oil, or common water colours.</p> - -<p>Brown-red, or brown-oker calcined, may be employed for the same use as -in oil, or distemper painting.</p> - -<p><span class="pagenum" id="Page_88">[Pg 88]</span></p> - -<p>Indian-red, the French call this colour, <i>Terre d’Angleterre</i>, -English earth; this colour is particularly useful for distances, it -makes the degradation of objects light and airy.</p> - - -<p><span class="smcap">Terra di Siena</span>, and <span class="smcap">Terra verte</span>,</p> - -<p>Terra di Siena, a yellow hard and clayish substance, so called from the -city of Siena in Italy, from whence it comes.</p> - -<p>This colour is very unfit to be used crude, either for painting in -encaustic or crayons, its pores are too close for the wax to penetrate; -or to say better,<span class="pagenum" id="Page_89">[Pg 89]</span> this colour or earth is very much impregnated with a -nitrous principle, with which wax cannot sympathise, and for this very -reason it is as unfit to be used crude in oil. Those painters that use -it freely have always but too much reason to repent. But,</p> - -<p>Terra di Siena calcined, is a very beautiful and useful colour for -all manner of painting, and particularly encaustic. The fire having -dispelled in some measure the nitrous principle, the wax may freely -enter its pores. This colour gives a great, soft, and glowing strength -in flesh, drapery and landscape;<span class="pagenum" id="Page_90">[Pg 90]</span> some painters call this colour Roman -oker.</p> - -<p>Terra verte; this colour too comes to us from Italy, and some from -Germany, they are both alike, and ought to be entirely banished -the pallette, as it grows so soon dirty and black when employed with -oil. Terra verte differs from terra di Siena in little else but colour, -it has a little vitriol. The too free use some of the older Italian -painters made of this colour in flesh tints, is the cause that numbers -of pictures of those masters are so black as we see them at this time.</p> - -<p><span class="pagenum" id="Page_91">[Pg 91]</span></p> - -<h3>BLUES.</h3> - - -<ul><li> Ultramarine,</li> -<li> Prussian blue,</li> -<li> Smalt.</li> -</ul> - -<p>Ultramarine is perfectly good, and every body that likes to use it may -do so.</p> - -<p>Prussian blue, equals ultramarine in encaustic, for all intents and -purposes; there is no other blue required for crayons neither.</p> - -<p>Smalt may be used, but I think it rather too gritty; its particles are -too transparent for<span class="pagenum" id="Page_92">[Pg 92]</span> parts where a solid mass of colour is required. -For crayons it does very well mixed with Prussian blue to bind it, both -together make a beautiful colour, the grittiness of smalt will there be -of advantage. This colour will not grow black fixed with wax as it does -in oil.</p> - -<h3>BLACKS.</h3> - - -<ul><li> Ivory Black,</li> -<li> Bone Black,</li> -<li> Blue Black,</li> -</ul> - -<p class="noindent">have all the necessary qualifications to be employed.</p> - -<p>Ivory black may be employed for all the uses made of it in oil.</p> - -<p><span class="pagenum" id="Page_93">[Pg 93]</span></p> - -<p>Blue black is particularly necessary for landscapes; the blue black -generally sold at the colour shops is commonly made of wine stalks; but -blue black made of peach, apricot, or plum-stones calcined, is by far -the best; it is not so loose and spungy as the former, its colour too -is finer.</p> - -<p>Bone black is the most valuable of the black tribe for sweetness, and -a transparent warmth for landscapes and figures; bone black and white -alone will make softer and more natural turning tints than any other -colours can produce;<span class="pagenum" id="Page_94">[Pg 94]</span> the Flemish painters use it very much for glazing.</p> - -<p>This black mixed with a little terra di Siena calcined, makes the -strongest and sweetest shades that can be obtained with colours.</p> - -<p>The best is made of the bones of mutton trotters calcined.</p> - -<h3>COLLENS EARTH.</h3> - -<p>A dark blackish brown and somewhat bituminous earth, inclining a little -towards purple, is a very good colour, and of singular use where -extraordinary<span class="pagenum" id="Page_95">[Pg 95]</span> strength is required in fore grounds.</p> - -<h3>UMBRA, Crude and calcined.</h3> - -<p>A useful colour enough for common purposes; some painters use it for -shades in flesh, but very improperly, for it is a very raw colour crude -or calcined, and only fit to be used in drapery or back grounds.</p> - -<p>These are all the colours that ought to be used for painting in -encaustic, with the pencil; there are a few more that might be employed -in this manner, but as they are rather<span class="pagenum" id="Page_96">[Pg 96]</span> inferior in quality, or only -compounds of those already mentioned, I omit them; a few, not commonly -used in oil painting that notwithstanding might be used in encaustic, I -shall mention under the article of crayons, as they belong more to, and -are more useful in that way.</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_97">[Pg 97]</span></p> - -<h2 class="nobreak" id="ENCAUSTIC2">ENCAUSTIC;</h2> -</div> - -<p class="center">OR,</p> - -<p class="h3"><i>Method of painting with and fixing of the</i> <span class="smcap">Crayons</span>.</p> - - -<p>The method of painting with and fixing of the crayons comes not only -within the sense of encaustic, but is the very self-same thing. The -whole proceeding is founded upon the foregoing principle; the same -materials and agent are required.—The only difference between painting -in encaustic with the pencil, and painting in encaustic with crayons,<span class="pagenum" id="Page_98">[Pg 98]</span> -consists in employing the colours; in the former—you paint with -colours tempered with water; in the latter—you employ, and paint with -the same colours dry; the effect and solidity will be equal and the -same in both.—</p> - -<hr class="tb"> - -<p>The encomiums I bestowed upon the penciling system, are applicable -to that of the crayons; I shall say nothing more; experience will -be the best panegyrist. I am afraid crayons, as seemingly the less -troublesome, will carry the golden apple; I will not anticipate the -decision of the public.—I shall give the hint, and my fellow<span class="pagenum" id="Page_99">[Pg 99]</span> artists -may make use of it as they please.—</p> - -<hr class="tb"> - -<p>As the system of encaustic for the pencil is the parent of that for -the crayons, and as both may be happily blended and jointly practised -to good purpose, I shall, to avoid tiresomely repeating the same -thing over again, refer the reader to the former process whenever -similarities of proceeding occur; they, besides commenting each other, -will open to the more timorous artist a freer field of action. As I did -in the former, so shall I in this, give that method of proceeding,<span class="pagenum" id="Page_100">[Pg 100]</span> -which by experience I found to be the best.</p> - -<p>Though this system did not enter in the original plan of publication -with the other, and I intended to withold it from the public a little -longer, to see what reception the former should meet with; yet as it -got vent by shewing it to few friends, and a gentleman offering me -(in his opinion) a considerable reward to dispose of the secret in -his favour only, I, to prevent some modern <span class="smcap">Pliny</span>’s casting -more direct reflexions upon me, without my having the skill of Apelles -to uphold my reputation,<span class="pagenum" id="Page_101">[Pg 101]</span> at least thought proper to give them to -the public both at once. To make discoveries that may be of infinite -advantage to arts, subservient to private avarice, is the foible of a -weak, jealous, and ill-natured mind.—Here follows the process; and -first the preparation of the cloth.</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_102">[Pg 102]</span></p> - -<h2 class="nobreak" id="ART_I_2">ART. I.</h2> -</div> - -<h3><i>Preparation of the cloth, or paper, for painting with crayons.</i></h3> - -<p>First method to prepare the cloth without paper.</p> - -<p>Take any sort of linen cloth whose texture is pretty close and even, -stretch it upon a straining frame and rub it on the back with a piece -of wax, as directed under Art. the first, <a href="#Page_26">page 26</a>. your cloth waxed, -prepare any tint or colour you like, or judge best for a ground to work -upon, let enter into the composition of this tint or colour, one half, -or at least<span class="pagenum" id="Page_103">[Pg 103]</span> one third of chalk or whitening, mix and temper -all with pure water; your tint ready, paint over your cloth with it on -that side you are to paint upon, and lay the colour on pretty even and -substantially; this colour or ground dry, bring the canvas near the -fire, as under Art. the fourth, <a href="#Page_35">page 35</a>. and the wax melting will fix -that colour or ground, which when cool will be a fit and firm body to -work upon with crayons. Note, if the quantity of wax should prove too -small for the quantity of colour, apply with a brush on the back some -wax dissolved in turpentine, as described in<span class="pagenum" id="Page_104">[Pg 104]</span> the next page, and bring -the canvas again to the fire. It is essential in painting with crayons -to have the first ground properly prepared.</p> - -<h3><i>Second method, to prepare cloth with paper pasted thereon.</i></h3> - -<p>Take linen cloth and stretch it upon a frame as the foregoing; then -make a paste with fine wheat flour, or starch and water, and when -the paste is near boiled enough, put in and mix with it of common -horse-turpentine, about half an ounce to six ounces of paste, stir it -well together, and let it simmer five or six minutes<span class="pagenum" id="Page_105">[Pg 105]</span> longer; then take -it from the fire and set it by to cool a little, and while it is still -tolerably warm, paste your paper (grey, blue or white) to the cloth -in the usual manner, and set it by to dry.—In the mean time put wax, -broken in small pieces, to dissolve in oil of turpentine near a fire, -and in such proportion that, when dissolved and cold, it will be of -consistence like a thin paste, and fluent enough to be managed with a -brush.—When your cloth and paper is perfectly dry, hold it over or -before a fire, at a convenient distance, and with a brush apply the -dissolved wax on both<span class="pagenum" id="Page_106">[Pg 106]</span> sides to cloth and paper, and continue laying on -wax till you perceive both surfaces equally shining, and there be no -imbibed-like spot remaining; this done, let your cloth stand before the -fire about half an hour longer, (or in summer in the sun,) and, the oil -of turpentine evaporating, the wax will become firm again, and be fit -to receive any tint or colour for a ground to work upon, which you must -lay on and fix as the foregoing upon cloth without paper, and when cool -you may go to work.</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_107">[Pg 107]</span></p> - -<h2 class="nobreak" id="ART_II_2">ART. II.</h2> -</div> - -<p class="h3"><i>Of the crayons their preparation and use.</i></p> - - -<p><span class="smcap">Preparation.</span> There is no particular or uncommon preparation or -composition required for encaustic, all crayons hitherto commonly used -may be employed; some great lights only will be wanted for every set of -tints; for what has been said on colours, and their growing deeper when -fixed with wax, <i>penciling system Art. II. <a href="#Page_29">page 29</a>, <a href="#Page_30">30</a></i>. holds -equally here; therefore every artist, that may be inclined to make a -trial in this manner, will do<span class="pagenum" id="Page_108">[Pg 108]</span> well to make an essay of all his tints, -by preparing a piece of cloth as directed in the foregoing article, -and giving a few strokes of each crayon and fixing it, this will -immediately shew what new tints will be wanted.</p> - -<p>In composing any new tint it will be well to leave out fullers-earth, -pipe-clay, chalk, and other calcarious matters<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">13</a> which are generally -used in the common way; the former—to bind the<span class="pagenum" id="Page_109">[Pg 109]</span> looser colours; the -latter—to keep up the flake-white and white-lead, which otherwise -would turn black; in encaustic those matters are wanted for none of -the above ends; flake-white and white-lead will not change, and both -together will make a body sufficiently connected to bind the lighter -tints.</p> - -<p>All colours used in oil and mentioned in the foregoing list, are good -for crayons, and no others.</p> - -<p><i>Note.</i> What has been said at the end of the list of colours, that -a few more colours, not commonly employed in oil,<span class="pagenum" id="Page_110">[Pg 110]</span> might be used for -crayons, was a mistake of the author’s upon his experimental table; -there are but two more that may be used for crayons, viz. bice and -verditer.</p> - -<p><i>The use of the crayons</i> in encaustic is the very same as commonly -practised, there is no difference; you must work and paint upon the -waxed ground as you do upon the bare paper. Encaustic has the advantage -over the common way as to expedition. The fine grittiness procured by -the particles of the chalk mixed with the ground you work upon, will -<i>file</i> off more colour from the<span class="pagenum" id="Page_111">[Pg 111]</span> crayon than the grain of the -unwaxed paper; and the wax diffused through the ground will retain the -colours better; so that when you sweeten your tints with your finger -there will be no waste; for in working, the particles of the colour -will intrude themselves into the body of the wax, which yields to them; -which paper, bare or prepared with a ground tempered with gum or size, -does not.</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_112">[Pg 112]</span></p> - -<h2 class="nobreak" id="ART_III_2">ART. III.</h2> -</div> - -<p class="h3"><i>How to fix the crayons.</i></p> - - -<p>For fixing the crayons you must act and proceed in every respect, -according to the directions given <i>penciling system Art. IV. <a href="#Page_35">page 35</a>, -<a href="#Page_36">36</a></i>, &c. you may retouch, and apply the dissolved wax on the back, -and bring the picture to the fire as often as required.</p> - -<p><span class="pagenum" id="Page_113">[Pg 113]</span></p> - -<h3><i>Observations on the system for painting with crayons.</i></h3> - -<p>For painting with crayons I should prefer cloth prepared according -to the first method, without paper, for the same reason I gave for -deviating from Count <span class="smcap">Caylus’s</span> system, <i><a href="#Page_48">page 48</a>, <a href="#Page_49">49</a></i>. -however, artists may decide for themselves.</p> - -<p>Besides the two methods mentioned for preparing the cloth, one might -paint upon paper pasted upon cloth as directed, without first laying on -any wax or preparatory ground; but such paintings would not have that -lasting solidity they<span class="pagenum" id="Page_114">[Pg 114]</span> ought; besides, laying on a ground preparatory -and analogous in hue to the subject to be painted, is more expeditious, -as such a ground may be made to serve for a half tint, and answers the -purpose of dead colouring.</p> - -<p>Turpentine enters in the paste for one great and principal end, viz. -to keep the particles of the paste a little asunder, and facilitate -to the wax a free passage through it; for the particles of turpentine -diffused through the paste, in melting, when the picture is brought -near the fire, open so many equi-distant channels for the wax, which, -by this means,<span class="pagenum" id="Page_115">[Pg 115]</span> can penetrate freely and uniformly, and diffuse itself -over the whole in equal proportion; without the turpentine it would -not succeed so well; the wax would only come through here and there; -the colours would in a manner be calcined before a sufficient quantity -could penetrate to secure them; for though there will be wax enough for -the first fixing, yet, to alter or retouch, or where an extraordinary -great body of colours might be employed, there might be a deficiency of -wax, which cannot be supplied otherwise than by laying it on, on the -back, and if it could not<span class="pagenum" id="Page_116">[Pg 116]</span> work its passage through the whole might -miscarry.<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">14</a></p> - -<p>As few artists compose the crayons themselves, and as inserting -directions for that purpose would have swelled this treatise too much; -the author, for the conveniency of all practitioners has given the -<i>recipe</i> of proportion for composing every tint for what it is to -be when fixed, to Mr. Sandys, colour-merchant, in Dirty-lane Longacre, -of whom perfect sets may<span class="pagenum" id="Page_117">[Pg 117]</span> be had; and as the author has communicated -the <i>recipe</i>, for binding the most difficult colours,<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">15</a> for the -benefit of the art, without fee or reward whatsoever, those crayons -will be sold at the usual price. At the above place, may be had cloth -or paper ready prepared on short notice.</p> - -<p>However, if any artist should chuse to prepare the crayons himself, he -will do well to leave out the pipe-clay, fullers-earth, chalk, &c. as -much as possible, and mix his tints as<span class="pagenum" id="Page_118">[Pg 118]</span> usual. The standard recommended -under <i>Art. II. <a href="#Page_29">page 29</a>, <a href="#Page_30">30</a></i>. and explained <i><a href="#Page_55">page 55</a>, <a href="#Page_56">56</a></i>. -will be of service for ascertaining beforehand the value of each tint.</p> - -<p>If any crayon prepared for the old way, should prove too hard for this, -as may be the case with vermilion, bice, verditer, and the other looser -colours, in whose composition enters a little paste to bind them, -sprinkle those crayons with a brush dipt in spirit of wine, and they -will become manageable.</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_119">[Pg 119]</span></p> - -<h2 class="nobreak" id="General_Remarks"><span class="smcap">General Remarks</span></h2> -</div> - -<div class="blockquot"> - -<p class="h3"><i>On the apparent characters of encaustic paintings, on wax -and varnish.</i></p> -</div> - -<p>The principal apparent characters of an encaustic painting are,</p> - -<p>1. The colours have all the airiness of water colours, and all the -strength of paintings in oil, without partaking of the apparent -character, or defects of either.</p> - -<p>2. You may look at and enjoy a picture in any light; the colours are -bright, fresh and<span class="pagenum" id="Page_120">[Pg 120]</span> lively without glaring. They require no varnish.</p> - -<p>3. The colours are firm, without being brittle, and will bear -scratching without receiving any harm.</p> - -<p>The effect of the colours is the same in both systems, each will have -and preserve its peculiar character, as to the manner of painting; if -you paint your subject in the light and airy stile of the Carlo Marat -school, when the colours will be fixed you will have the high colouring -of Rubens.</p> - -<p><span class="pagenum" id="Page_121">[Pg 121]</span></p> - -<h3>On WAX.</h3> - -<p>It is not material for me to decide which of the two ought to be -preferably employed, bees-wax simple, or virgin-wax.—For large works -that will be exposed to the air, I should prefer the former; artists -will see by a few trials which will suit their taste best.</p> - -<h3>On VARNISH.</h3> - -<p>Varnishes are not required, as has already been observed; but as our -eyes have been used so much to see colours, not in their natural hue, -but disguised by varnish, those<span class="pagenum" id="Page_122">[Pg 122]</span> that should like to please themselves -in this point may use the following method.</p> - -<p>First lay on with a clean spunge a substantial lay of the white of -eggs, and work it well upon the picture. This dry, lay on any varnish -commonly used for oil painting, and your picture will look as if -painted with oil-colours.</p> - -<p>This varnish may be taken off at pleasure, the uppermost by rubbing -the surface of the picture with a rag dipped in spirit of wine or -turpentine, the white of eggs by washing the picture with water. It is<span class="pagenum" id="Page_123">[Pg 123]</span> -not adviseable to lay a varnish of spirits or gums, without first using -the white of eggs, as spirit of turpentine is the menstruum of wax.</p> -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<p><span class="pagenum" id="Page_124">[Pg 124]</span></p> - -<h2 class="nobreak" id="EXPERIMENTS">EXPERIMENTS.</h2> -</div> - -<p>To adopt and practise in earnest any new system without sufficient -trials and proofs of its merit, may be called going wilfully -astray.—To avoid deceiving myself in the new system before us, I, -after having been convinced of its advantageous practicability, set -about to ascertain the other great point, the stability of the colours; -for this end, and to know more exactly how much every colour would vary -from its original hue in a certain space of time, as well in regard -to the same system as in<span class="pagenum" id="Page_125">[Pg 125]</span> opposition to oil-colours, I proceeded as -follows.</p> - -<h3><i>Experiment the first and principal, 1757.</i></h3> - -<p>I had all the colours used in oil painting, mentioned in the foregoing -list, carefully ground with water, at Mr. Sandys’s, colour-merchant, -and from those colours I composed ninety various and sensibly differing -tints, for flesh, drapery and landscape; of each tint I had a quantity -of a two ounce gallipot full, tempered with water; so I left them -well screened from dust till they were become dry again; then I<span class="pagenum" id="Page_126">[Pg 126]</span> -divided each mass of tint in four equal parts; two of each I set by -for the comparative use, the other two parts of each I employed in the -following manner.</p> - -<p>One part of each I tempered again with water, and painted with it over -a space of cloth of six inches wide and two inches high, the tints -close to each other, in the manner of copper-plate, <i><a href="#Page_58">page 58</a></i>, and -the cloth waxed as directed <i>Art. IV. <a href="#Page_26">page 26</a></i>. The same I did -with the entire and unmixed colours.</p> - -<p><span class="pagenum" id="Page_127">[Pg 127]</span></p> - -<p>The other parts of each tint I tempered with the finest nut-oil -according to custom, and painted-over with them such another space of -six inches by two, as the former, upon oil-cloth. The same I did with -the entire colours, and set them by to dry; when dry, I brought the -encaustic tints near the fire, and by melting the wax fixed them.</p> - -<p>My tints thus ready, I cut each piece of cloth, encaustic and -oil-tints, in five equal parts, and disposed of a piece of each in the -following manner.</p> - -<p><span class="pagenum" id="Page_128">[Pg 128]</span></p> - -<p>1. One piece of each I exposed in the open air to all the injuries of -sun, dew, wind and rain.</p> - -<p>2. One piece of each I nailed to a wall in a damp cellar-like room.</p> - -<p>3. One piece of each I nailed to the ceiling of a kitchen and near the -chimney, where all the year round a fire was kept.</p> - -<p>4. One piece of each I nailed to the side of a room I usually inhabited.</p> - -<p>5. One piece of each I put between several quires of paper,<span class="pagenum" id="Page_129">[Pg 129]</span> and -confined them in a close drawer deprived of air.</p> - -<p>Thus I left them, till the latter end of October, 1759, (the space of -twenty-seven months) when I gathered them. Then I took the two parts of -tints I had set by and preserved, and tempering the one with water, and -the other with oil, painted the first upon a fresh piece of waxed cloth -and fixed them, the other tempered with oil, I painted upon a fresh -piece of oil-cloth, and after having washed the old tints, on comparing -the new and old colours together found as follows.</p> - -<p><span class="pagenum" id="Page_130">[Pg 130]</span></p> - -<p>The old encaustic entire colours and tints of number 1. seemed to have -suffered a considerable change in opposition to the new ones, but -compared to their old fellows in oil they looked bright.</p> - -<p>I washed them both with common water, and a brush, the encaustic tints -recovered a little; oil-tints not.</p> - -<p>I brought the encaustic to the fire, and most tints recovered -their original hue, and were equal to the new ones, <i>pinks</i>, -<i>yellow-orpiment</i>, <i>lake</i>, <i>terra di Siena</i>, and -<i>verditer</i> excepted;<span class="pagenum" id="Page_131">[Pg 131]</span> the first was partly gone, what remained was -dull; the second was grown whiter; <i>lake</i> grown lighter, but had -not suffered in beauty of colour; <i>terra di Siena</i> crude, grown -rough and dirty; <i>verditer</i>, a little dull.</p> - -<p>No. 3. seemed to have suffered by the smoke; but after washing it with -a stout brush, and soap and water, it recovered its original hue, -<i>pinks</i>, <i>yellow-orpiment</i>, <i>smalt</i> and <i>verditer</i> -excepted; the first was sensibly decayed; the second grown darker, -inclining towards red-orpiment; the third grown dull, but mixed with -Prussian blue<span class="pagenum" id="Page_132">[Pg 132]</span> it was as bright as the new; verditer grown dark and -dull.</p> - -<p>No. 2, 4, 5. were just as the new ones, there was no difference.</p> - -<p>Oil colours did not stand the test so well; their general appearance in -opposition to old and new encaustic,—was:</p> - -<p>No. 1. weak, dull and dim, some entirely gone.</p> - -<p>No. 2. freckled, of all sorts of hues, not to be washed off.</p> - -<p>No. 3. darker, some dull, others dirty, some entirely gone.</p> - -<p><span class="pagenum" id="Page_133">[Pg 133]</span></p> - -<p>No. 4. considerably yellower, and less bright.</p> - -<p>No. 5. yellow-spotted, as if varnished with gall.</p> - -<p>The foregoing tints were all fixed with virgin-wax, which I thought the -best; but having at the same time and with the same colours painted -upon cloth waxed with common yellow bees-wax, I found that the latter -in the open air preserved the colours rather better.</p> - -<p><span class="pagenum" id="Page_134">[Pg 134]</span></p> - -<h3><i>Experiment the second.</i></h3> - -<p>I washed the foregoing tints with <i>a strong lixivium of pot-ash, -vinegar, spirit of wine, a solution of sea salt, and aqua fortis</i>.</p> - -<p>By this operation the oil-colours were entirely destroyed, the -encaustic suffered nothing, only <i>smalt</i> grew darker; but after -scraping it and bringing it again to the fire, it recovered its tone.</p> - -<p>I have still a little scrap of a picture, a landscape, by me, which -has undergone all the<span class="pagenum" id="Page_135">[Pg 135]</span> abovementioned trials and more, for I took it -from the frame and folded it in four, put it upon the frame again, -and brought to the fire and the folds disappeared,—the colours are -as fresh as if painted but yesterday. On examining it close one may -perceive it suffered violence, but at a yard’s distance no marks appear.</p> - -<h3><i>Experiment on oil-colours.</i></h3> - -<p>Having perceived that oil-colours, painted upon a waxed ground always -appeared brighter upon an oil-cloth; I, to come at the knowledge of -the cause of this effect, contrived<span class="pagenum" id="Page_136">[Pg 136]</span> various experiments, but without -success; at last I made microscopical observations, and found that -oil-colours painted upon an oil-cloth undergo a great fermentation, -five or six hours after being laid on, and continue so till they are -dry. Then they begin to overcast, and by degrees cover the surface with -a yellowish, grey substance, not to be washed or rubbed off but with a -knife.</p> - -<p>Among the very same colours painted upon an encaustic ground I could -perceive no such fermentation, or overcasting.—From this we may -conjecture that the priming, or<span class="pagenum" id="Page_137">[Pg 137]</span> ground we work upon is more the cause -of the colours changing than the colours themselves, very likely owing -to the desecated saline particles of the oil, which are dissolved by -and mix with the new oil and colours; or to the superabundant quantity -of salts contained in the ground or priming, which is generally -composed of the coarsest oil and colours, and frequently half chalk.</p> - -<p><i>Though this latter experiment has nothing to do with encaustic, it -will find its application and owner.</i></p> - -<p><span class="pagenum" id="Page_138">[Pg 138]</span></p> - -<p>To prove the stability of encaustic colours, I have mentioned but two -experiments; they are sufficient; from them we may draw the following</p> - -<h3><span class="smcap">Conclusions.</span></h3> - -<p>First, that encaustic colours, having resisted the injuries of the -weather better than oil-colours, for the space of twenty-seven months, -they will prove more lasting than oil-colours for a greater space of -time.</p> - -<p>Secondly, that having resisted the effects of the corrosives, -<i>alkali</i> and <i>aqua fortis</i>, &c. the circumambient air, -howsoever impregnated with<span class="pagenum" id="Page_139">[Pg 139]</span> saline particles, cannot affect them.</p> - -<p>Thirdly, that if pictures of this kind receive any hurt, fire will -restore them.</p> - -<p>The most celebrated men of antiquity, celebrated the performances of -their painters; if their colours had not been as lasting as their skill -was great, some one might have left us regretful instances. They left -us none.</p> - -<p>Was <span class="smcap">Wax</span> the preserver of their colours?</p> - -<p class="center"> -FINIS.<br> -</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak" id="Advertisement"><span class="smcap">Advertisement.</span></h2> -</div> - - -<p>As the foregoing Treatise is written and published with an intention -to communicate a discovery that will prove of infinite advantage to -the loveliest of arts, in all its branches; the author, conscious -of wanting the necessary qualifications of a writer in a language -not natural to him, hopes for indulgence, for all the inaccuracies -and improprieties of expression he may and must have fallen into: as -to facts, he begs leave to assure the public, that nothing has been -advanced but what is strictly true.</p> - -<p>If any artist or others should in practising be at a loss or stand for -any thing, the author shall always be willing and ready to give them -farther light on any occasion.</p> - -<p>The treatise on Practical Painting in general, which was to have been -published together with this, as has been intimated to the public in -an advertisement of the third of January, will be published as soon -as possible; the author being engaged in a work of a very extensive -nature, had not time to bring it in perfect order himself; a gentleman -and friend of his has been so kind as to undertake the finishing and -correcting of it; it will soon be ready for the press.</p> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak" id="FOOTNOTES">FOOTNOTES:</h2> -</div> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="label">1</a> Philosoph. Transact. vol. xlix. part 2.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_2" href="#FNanchor_2" class="label">2</a> Though the Abbé does not quote the passage, one may guess -it must be the following the count undertook to explain. <i>Pliny</i> -lib. xxxv. chap. 11.</p> - -<p>“Ceris pingere ac picturam inurere quis primus excogitaverit non -constat: quidam Aristidis inventum putant, posteà consummatum à -Praxitele. Sed aliquanto vetustiores Encausticæ Picturæ exstitere, ut -Polignoti & Nicanoris, & Arcesilai Pariorum. Lysippus quoque Æginæ -Picturæ suæ inscripsit, ἐνεκαυσεν, quod profecto non fecisset nisi -encaustica inventa.”</p> - -<p><i>Which may be told in plain English thus</i>, “Who first invented -to paint with (or in) wax, and burn in (or fix) the picture with -fire, is not certainly known. Some think Aristides invented it, and -that Praxiteles brought it to perfection; but there were pictures -by masters, of a much older date; such as of Polignote, Nicanor and -Arcesilaus, all artists of Paros.</p> - -<p>“Lysippus writ upon his pictures he burnt in, which he would not have -done if the encaustic had not been invented then.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_3" href="#FNanchor_3" class="label">3</a> <span class="smcap">Pliny</span> is an evidence for this my opinion; -for after having said, lib. xxxv. ch. 4. <i>Nicias scripsit se -inussisse</i>, he says, <i>tali enim usus est verbo</i>. Which words -seem clearly to indite that <span class="smcap">Pliny</span> thought it equivocal, or -contrary to its proper signification.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_4" href="#FNanchor_4" class="label">4</a> Both pictures were disposed of as soon as finished to -a Dutch gentleman, who sent them to Holland as a pattern, and were -mightily approved of.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_5" href="#FNanchor_5" class="label">5</a> Any sort of old cloth, if whole, is as good as new; I -prefer the former to the latter for its softness. To ascertain a just -proportion of wax to every sort of cloth is unnecessary, if you should -either put too much or not enough, you may easily remedy it. See -<span class="smcap">Art.</span> iv. One single trial will clear up the incertitude.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_6" href="#FNanchor_6" class="label">6</a> Entire colours are the white, red, yellow, blue, &c.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_7" href="#FNanchor_7" class="label">7</a> See the nature of this better explained in the -copper-plate at the end of observations of Art. 2.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_8" href="#FNanchor_8" class="label">8</a> I prefer a fire of sea-coals because it is much more -uniform, and does not emit so many sparks as wood or charcoals, which -might injure the picture, though any fire with proper care will -answer the end proposed; a German stove is still better than any fire -whatsoever.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_9" href="#FNanchor_9" class="label">9</a> You will easily know those places that shall want wax; -they will appear like so many spots of a lighter hue.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_10" href="#FNanchor_10" class="label">10</a> Any other spirit such as that commonly burnt in lamps, -common gin, rum, or genuine brandy, will do just as well; spirit or -oil of turpentine is very proper too; but as it smells so very strong, -ladies and gentlemen that paint for their amusement only would not like -it.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_11" href="#FNanchor_11" class="label">11</a> The same might be practiced upon cloth, it would do -better than only rubbing it with the chalk; but for painting with the -pencil the bare cloth is still better.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_12" href="#FNanchor_12" class="label">12</a> I am aware that every body will not enter into this -doctrine at first, and some may think it very odd that a colour which -is used in oil, should not sympathise with wax; the question is easily -solved, the grinding stones unite oil and pinks, and bring them -together by force, but experience shews it is but for a little while; -the oil once dry, pinks soon fly off and fade away.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_13" href="#FNanchor_13" class="label">13</a> Fullers-earth, pipe-clay, chalk, &c. ought to be left -out, because they sink so very low when fixed with wax, and impart -a great dullness to all those tints wherein they prevail; pipe-clay -and fullers-earth a dusky transparent gray; chalk, a yellowish-white -no-colour.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_14" href="#FNanchor_14" class="label">14</a> Old crayon pictures may be fixed very well; the paste -becoming old looses its cohesion; the wax may freely and uniformly -penetrate through; they will want retouching. If any artist has a -mind to try, he may do it with some insignificant subject for fear of -miscarrying on a first trial.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_15" href="#FNanchor_15" class="label">15</a> If this treatise should meet with such approbation as to -require a second edition, the recipe for the composing of crayons will -be inserted at full length.</p> - -</div> - - -<hr class="chap x-ebookmaker-drop"> - -<div class="chapter"> -<h2 class="nobreak" id="Table_of_Contents"><span class="smcap">Table</span> of <span class="smcap">Contents</span>.</h2> -</div> - - -<table class="autotable"> -<tr> -<td class="tdl"> Introductory account of Encaustic Painting</td> -<td class="tdr"> page <a href="#Page_1">1</a></td> -</tr> -<tr> -<td class="tdl"> Article the first, <i>preparation of the cloth for painting in encaustic</i></td> -<td class="tdr"> <a href="#Page_26">26</a></td> -</tr> -<tr> -<td class="tdl"> Art. the second, <i>of the colours, and their preparation and use</i></td> -<td class="tdr"> <a href="#Page_29">29</a></td> -</tr> -<tr> -<td class="tdl"> Art. the third, <i>how to paint over or alter any part before the picture has been near the fire</i></td> -<td class="tdr"> <a href="#Page_33">33</a></td> -</tr> -<tr> -<td class="tdl"> Art. the fourth, <i>how to fix the colours</i></td> -<td class="tdr"> <a href="#Page_35">35</a></td> -</tr> -<tr> -<td class="tdl"> Art. the fifth, <i>how to retouch any part after the colours are fixed</i></td> -<td class="tdr"> <a href="#Page_40">40</a></td> -</tr> -<tr> -<td class="tdl"> Observations on Art. the first</td> -<td class="tdr"> <a href="#Page_41">41</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Count</i> Caylus’s <i>method of preparing the cloth</i></td> -<td class="tdr"> <a href="#Page_43">43</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Reasons for deviating from the count’s method</i></td> -<td class="tdr"> <a href="#Page_45">45</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>How to paint upon walls</i></td> -<td class="tdr"> <a href="#Page_49">49</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>How to paint upon wood, stone</i>, &c.</td> -<td class="tdr"> <a href="#Page_50">50</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>How to paint upon paper</i></td> -<td class="tdr"> <a href="#Page_51">51</a></td> -</tr> -<tr> -<td class="tdl"> Observations on Art. the second; <i>on grinding the colours</i></td> -<td class="tdr"> <a href="#Page_53">53</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>How to ascertain the just value of each colour</i></td> -<td class="tdr"> <a href="#Page_55">55</a></td> -</tr> -<tr> -<td class="tdl"> Observations on Art. the third, <i>advantages of Encaustic painting over oil and size-painting</i></td> -<td class="tdr"> <a href="#Page_60">60</a></td> -</tr> -<tr> -<td class="tdl"> Observations on Art. the fourth, <i>various methods for applying the fire to a picture</i></td> -<td class="tdr"> <a href="#Page_63">63</a></td> -</tr> -<tr> -<td class="tdl"> Observations on Art. the fifth, <i>on retouching after the colours are fixed</i></td> -<td class="tdr"> <a href="#Page_67">67</a></td> -</tr> -<tr> -<td class="tdl"> List of the colours, <i>white</i></td> -<td class="tdr"> <a href="#Page_74">74</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Yellows</i></td> -<td class="tdr"> <a href="#Page_76">76</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Pinks</i></td> -<td class="tdr"> <a href="#Page_82">82</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Reds</i></td> -<td class="tdr"> <a href="#Page_84">84</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Terra di Siena</i> and <i>terra verte</i></td> -<td class="tdr"> <a href="#Page_88">88</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Blues</i></td> -<td class="tdr"> <a href="#Page_91">91</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Blacks</i></td> -<td class="tdr"> <a href="#Page_92">92</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Collens earth</i></td> -<td class="tdr"> <a href="#Page_94">94</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Umbra</i></td> -<td class="tdr"> <a href="#Page_95">95</a></td> -</tr> -<tr> -<td class="tdl"> Method of painting with and fixing of the crayons</td> -<td class="tdr"> <a href="#Page_97">97</a></td> -</tr> -<tr> -<td class="tdl"> Art. the first, <i>first method to prepare the cloth</i></td> -<td class="tdr"> <a href="#Page_102">102</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Second method</i></td> -<td class="tdr"> <a href="#Page_104">104</a></td> -</tr> -<tr> -<td class="tdl"> Art. the second, <i>of the crayons; their preparation</i></td> -<td class="tdr"> <a href="#Page_107">107</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>And use</i></td> -<td class="tdr"> <a href="#Page_110">110</a></td> -</tr> -<tr> -<td class="tdl"> Art. the third, <i>how to fix the crayons</i></td> -<td class="tdr"> <a href="#Page_112">112</a></td> -</tr> -<tr> -<td class="tdl"> Observations <i>on the system for painting with crayons</i></td> -<td class="tdr"> <a href="#Page_113">113</a></td> -</tr> -<tr> -<td class="tdl"> Remarks on the apparent character of encaustic paintings</td> -<td class="tdr"> <a href="#Page_119">119</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>On wax</i></td> -<td class="tdr"> <a href="#Page_121">121</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>On varnish</i></td> -<td class="tdr"> <a href="#Page_121">ibid.</a></td> -</tr> -<tr> -<td class="tdl"> Experiments</td> -<td class="tdr"> <a href="#Page_124">124</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>First</i></td> -<td class="tdr"> <a href="#Page_125">125</a></td> -</tr> -<tr> -<td class="tdl"> —— <i>Second</i></td> -<td class="tdr"> <a href="#Page_134">134</a></td> -</tr> -<tr> -<td class="tdl"> Experiments on oil-colours</td> -<td class="tdr"> <a href="#Page_135">135</a></td> -</tr> -<tr> -<td class="tdl"> Conclusions</td> -<td class="tdr"> <a href="#Page_138">138</a></td> -</tr> -</table> - - - -<hr class="chap x-ebookmaker-drop"> -<div class="chapter transnote"> - -<h2>Transcriber’s Notes</h2> - -<p>Obvious typographical errors have been silently corrected. 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