DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0304
290 ENCAUSTIC PAINTING.
in his left hand the work to he enamelled, or the brass or iron figures to be formed upon ; with
his right hand he directs the thread of enamel, and holds it to the flame with astonishing
patience and dexterity. In this way there are few things that may not be made or represented
by enamel; and some figures are as well and neatly finished as if they had been by the most
skilful carver.
SECTION X.
of encaustic painting.
Although encaustic painting be in fact only another name for enamelling^ yet it is
frequently understood to mean a peculiar species of enamelling practised by the ancients, in
which wax was employed to give a gloss to their colours, and to preserve them from the effects
of the air.
This art had been long lost, but was restored in France, and a method of painting in wax was
announced to the Academy of Painting in Paris in 1753 ; but the first who actually communi-
cated to the public the way to perform the operations of inmtiou or burning in, which is the
principal characteristic of encaustic painting, was Mr. Bachtlier, who had executed a picture in
wax, in 1749.
One method at first adopted was to wax over the cloth or wood on which the paintiug was to
be done, by simply rubbing it with a piece of bee's-wax, and holding it over or upright before a
fire, at such a distance that the wax might melt slowly while it is rubbed in, penetrate the cloth
or wood, and fill every interstice of its texture. As water colours however will not adhere to
wax, it is necessary to rub the wax over with fine chalk, and then apply the colours to it. When
these are dry the picture is placed near the fire, where the wax melts and absorbs the colours.
Encaustic painting may also be done by rubbing one side of the cloth or paper with beeVwax,
and the subject painted on the opposite or unwaxed side with water colours; bringing the
picture to the fire that the wax may melt, and the colours be incorporated as before.
Encaustic painting possesses several peculiar advantages; though the colours have not the
natural varnish or shining which they acquire when used with oil, they have all the strength of
oil paintings, and all the airiness of water colours; they may be looked at in all lights and situa-
tions, without any false glare ; the colours are steady and will bear being washed; and a picture
of this kind, after having been smoked and then exposed to the dew, becomes as clear as if
newly painted; it may also be retouched at pleasure, without any injury to the colours, for the
new will unite with the old, and it is not liable to crack, but may be easily repaired, should it
meet with any injury. The duration of this kind of painting is also of importance, for the colours
are not liable to fade or change ; no damp affects them, nor do they ever peel and fall off, as
often happens with oil-colours.
Notwithstanding all these and other advantages belonging to encaustic painting, the art has
hitherto been but little practised; but a much higher species was afterwards discovered in this
country, the colours of which are fixed by a very intense beat; neither these nor the grounds
on which they are laid, are liable to be dissolved or corroded by any chemical menstruum ; nor
like
in his left hand the work to he enamelled, or the brass or iron figures to be formed upon ; with
his right hand he directs the thread of enamel, and holds it to the flame with astonishing
patience and dexterity. In this way there are few things that may not be made or represented
by enamel; and some figures are as well and neatly finished as if they had been by the most
skilful carver.
SECTION X.
of encaustic painting.
Although encaustic painting be in fact only another name for enamelling^ yet it is
frequently understood to mean a peculiar species of enamelling practised by the ancients, in
which wax was employed to give a gloss to their colours, and to preserve them from the effects
of the air.
This art had been long lost, but was restored in France, and a method of painting in wax was
announced to the Academy of Painting in Paris in 1753 ; but the first who actually communi-
cated to the public the way to perform the operations of inmtiou or burning in, which is the
principal characteristic of encaustic painting, was Mr. Bachtlier, who had executed a picture in
wax, in 1749.
One method at first adopted was to wax over the cloth or wood on which the paintiug was to
be done, by simply rubbing it with a piece of bee's-wax, and holding it over or upright before a
fire, at such a distance that the wax might melt slowly while it is rubbed in, penetrate the cloth
or wood, and fill every interstice of its texture. As water colours however will not adhere to
wax, it is necessary to rub the wax over with fine chalk, and then apply the colours to it. When
these are dry the picture is placed near the fire, where the wax melts and absorbs the colours.
Encaustic painting may also be done by rubbing one side of the cloth or paper with beeVwax,
and the subject painted on the opposite or unwaxed side with water colours; bringing the
picture to the fire that the wax may melt, and the colours be incorporated as before.
Encaustic painting possesses several peculiar advantages; though the colours have not the
natural varnish or shining which they acquire when used with oil, they have all the strength of
oil paintings, and all the airiness of water colours; they may be looked at in all lights and situa-
tions, without any false glare ; the colours are steady and will bear being washed; and a picture
of this kind, after having been smoked and then exposed to the dew, becomes as clear as if
newly painted; it may also be retouched at pleasure, without any injury to the colours, for the
new will unite with the old, and it is not liable to crack, but may be easily repaired, should it
meet with any injury. The duration of this kind of painting is also of importance, for the colours
are not liable to fade or change ; no damp affects them, nor do they ever peel and fall off, as
often happens with oil-colours.
Notwithstanding all these and other advantages belonging to encaustic painting, the art has
hitherto been but little practised; but a much higher species was afterwards discovered in this
country, the colours of which are fixed by a very intense beat; neither these nor the grounds
on which they are laid, are liable to be dissolved or corroded by any chemical menstruum ; nor
like