A Manual of Fresco and Encaustic Painting: Containing Ample Instructions for Executing Works of These Descriptions. With an Historical Memoir of These Arts from the Earliest PeriodsChapman & Hall, 1843 - 214 oldal |
Más kiadások - Összes megtekintése
A Manual of Fresco and Encaustic Painting William Benjamin Sarsfield Taylor Korlátozott előnézet - 2024 |
Gyakori szavak és kifejezések
adopted amongst ancient appears architecture artists authority baths of Titus blue brick British Carbonate of lime carbonic acid cartoon cause caustic ceiling church Cimabue cloth coat commenced composition damp decoration distemper distemper painting drapery drawing Durdham Downs edifices effect employed encaustic painting executed fact favourable feet finished forms fresco painting fresco secco Genoa Genoese German glazing Greek hatching inches intonaco Italian Italy laid lath light limestone Maps marble masonry masters materials method mixed mixture mode moist moisture mortar Munich mural mural painting nature observes oil painting operation ornament outline oxide of iron painted in fresco painter palace plaster Polidoro di Caravaggio Pordenone portion practice prepared preservation pure fresco purpose Raffaelle remarkable render retouching Rome sand SECTION shadows slaked slaked lime specimens stone strong stucco style stylus substance sufficient surface taste tion Titian transparency Travertine various Vitruvius wall wash
Népszerű szakaszok
102. oldal - After having completed the portion allotted to the day, any plaster which extends beyond the finished part is to be removed, and, in cutting it away, care must be taken never to make a division in the middle of a mass of flesh, or of an unbroken light, but always where drapery, or some object or its outline, forms a boundary ; for if this be not attended to, it will be almost impossible, in continuing the work the next day. to match the tints, so that the junction shall be imperceptible ; but by...
190. oldal - FEBBUABY, 1843. 12 transfer the painting again to cloth, in completing the operation above described, a stronger glue is used, which resists moisture, it being necessary to detach 'the cloths first used, by tepid water, after the back of the painting is fastened to its new bed.
38. oldal - Germans generally use more sand, viz., three parts to one of lime. The thickness of the coat is such as is generally used in preparing the walls of dwelling-houses. The surface of this first application should be rough, but not unequally so; and the mason should avoid leaving cavities in it. The wall thus prepared should be suffered to harden perfectly; the longer it remains in this state the safer it will be, especially if the lime used was in the first instance fresh. In that case, two or three...
101. oldal - Thus the requisite degree of completion can be attained, provided the daylight, and the absorbing power of the plaster, last. But, if the touches of the pencil remain wet on the surface, and are no longer sucked in instantaneously, the painter must cease to work, for henceforth the color no longer unites with the plaster, but, when dry, will exhibit chalky spots.
102. oldal - If the wall begins to show these symptoms too soon, for example, in the second painting, some time may be gained by moistening the surface with a large brush, and trying to remove the crust or setting that has already begun to take place; but this remedy affords but a short respite.
60. oldal - Ultramarine, cobalt, and the imitative ultramarine : the last is most safely used for flat tints, but does not always mix well with other colours. These colours have been well tested, and, for the most part, admit of being mixed in any way. Other more brilliant colours, such as chrome yellow, vermilion, &c., have been tried in various ways, but have not yet, in every case, been found to stand. Colours prepared from animal and vegetable substances cannot be used at all, as the lime destroys them.