DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0307
PAINTING ON GLASS. 293
As soon as the oil rises from the picture and floats on the surface of the water pour this off,
isnd cover the work with a bell-glass; and when it is dry enough to bear scraping, until it be
perfectly flat and even, repeat this operation till you have compleated the painting. You will
then find, when the picture is well finished, that three or four colours are sufficient, and that
only the last touches are wanting. As the colours are generally dull and absorbed it is a common
practice to bring them out with varnish ; but this ought never to be done, as a little clear water
passed lightly over the picture will give the colours their full effect, discover the mistakes of
your pencil, and enable you to examine even the deepest shades: the other method on the
contrary when the oil is dry leaves the picture hard and rough.
It is thus that, in this manner of painting, water is of the greatest importance ; by means of
its transparency you are enabled to work through it, and produce the desired effect. Without
using water repeated touches would render the work thick and shining, and it would happen that
after having taken great pains with the piece, and covered it with a glass, the appearance of the
subject would be very different from what was intended.
However able the artist may be to draw his picture delicately, it will never be much admired
unless he make a proper choice of colours adapted to this mode of painting : and he ought to
avoid all such as may be dissolved, or at least weakened by the moisture, Dutch-pink, &c.
preferring colours formed from earths, ochres, &c. and never using any substance, with whose
composition or properties he is unacquainted. When these precautions have been taken the artist
may retouch his picture as freely and as often as he may choose; because the water leaves with
the colours only just enough of oil to make them adhere to the ground, while the surplus of the
oil floats on the surface. Another advantage in elydoric panting is that as there is never too
much oil employed and no varnish at all, you need not fear any degradation of the tints.
When the painting is finished it ought to be immediately covered with a glass, to exclude the
air, by means of some colourless gum or mucilage applied with a gentle heat; taking care that
these mucilages have no affinity with the materials used in the work, and contain no extraneous
substances that may occasion any change in the colours employed.
SECTION XII.
painting on glass.
Under this title different modes of painting on glass are comprehended. The most ancient
was very simple, being in fact only a sort of mosaic, executed with pieces of glass stained with
various colours; then larger pieces of stained glass were used, and the features and shades
applied to them with other coloured substances; lastly, the colours were incorporated in the
materials of the glass itself, by the operation of fire. This idea is said to have been first
suggested by a French painter at Rome; but Albert Durer and Lucas of Leydon produced the
earliest specimens of the art, approaching to perfection.
The colours used in painting or staining glass are very different from those employed in working
with oil or water colours. Of these the following are some examples.—Blacks are obtained by a
4 f mixture
As soon as the oil rises from the picture and floats on the surface of the water pour this off,
isnd cover the work with a bell-glass; and when it is dry enough to bear scraping, until it be
perfectly flat and even, repeat this operation till you have compleated the painting. You will
then find, when the picture is well finished, that three or four colours are sufficient, and that
only the last touches are wanting. As the colours are generally dull and absorbed it is a common
practice to bring them out with varnish ; but this ought never to be done, as a little clear water
passed lightly over the picture will give the colours their full effect, discover the mistakes of
your pencil, and enable you to examine even the deepest shades: the other method on the
contrary when the oil is dry leaves the picture hard and rough.
It is thus that, in this manner of painting, water is of the greatest importance ; by means of
its transparency you are enabled to work through it, and produce the desired effect. Without
using water repeated touches would render the work thick and shining, and it would happen that
after having taken great pains with the piece, and covered it with a glass, the appearance of the
subject would be very different from what was intended.
However able the artist may be to draw his picture delicately, it will never be much admired
unless he make a proper choice of colours adapted to this mode of painting : and he ought to
avoid all such as may be dissolved, or at least weakened by the moisture, Dutch-pink, &c.
preferring colours formed from earths, ochres, &c. and never using any substance, with whose
composition or properties he is unacquainted. When these precautions have been taken the artist
may retouch his picture as freely and as often as he may choose; because the water leaves with
the colours only just enough of oil to make them adhere to the ground, while the surplus of the
oil floats on the surface. Another advantage in elydoric panting is that as there is never too
much oil employed and no varnish at all, you need not fear any degradation of the tints.
When the painting is finished it ought to be immediately covered with a glass, to exclude the
air, by means of some colourless gum or mucilage applied with a gentle heat; taking care that
these mucilages have no affinity with the materials used in the work, and contain no extraneous
substances that may occasion any change in the colours employed.
SECTION XII.
painting on glass.
Under this title different modes of painting on glass are comprehended. The most ancient
was very simple, being in fact only a sort of mosaic, executed with pieces of glass stained with
various colours; then larger pieces of stained glass were used, and the features and shades
applied to them with other coloured substances; lastly, the colours were incorporated in the
materials of the glass itself, by the operation of fire. This idea is said to have been first
suggested by a French painter at Rome; but Albert Durer and Lucas of Leydon produced the
earliest specimens of the art, approaching to perfection.
The colours used in painting or staining glass are very different from those employed in working
with oil or water colours. Of these the following are some examples.—Blacks are obtained by a
4 f mixture