DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0379
( 365 )
APPENDIX.
OF PAINTING TRANSPARENCIES;
THIS mode of painting, although by no means a new invention has of late years come
much into vogue into this country; and when employed on suitable subjects, and conducted
with judgement, it produces very pleasing effects. The subjects to which it is most applicable
are those in which a very strong effect of light is to be represented in a particular, part of the
picture, such as moon-light, a house on fire, a building illuminated by torches, and the like ;
and the eruption of a volcano, Vesuvius for instance, as seen from Naples, cannot be truly re-
presented in any other way, than by a transparent painting with the proper colours, illuminated
by a number of lamps placed behind it. In executing paintings of this sort, you must fix the
paper on a frame where it may be properly stretched and kept tight, and by means of which
it may be placed between you and the light, to examine the effect of the work in different stages
of the operation. The design of the painting is first to be traced in, and the colours applied in
the same way as with other stained drawings, for doing which, instructions have been already
given in the body of this- work ; and when this is executed with the several shades and tints
requisite, the picture is placed against the window or a strong light, in order that the shadows
may be heightened, and the several colours worked up to their proper tone. In doing this it is
sometimes necessary to apply the colours or Indian ink, on both sides of the paper, to strengthen
the effect, and produce a certain degree of opacity, requisite in. most cases of night-scenery.
For even the brightest moon enlightens only such objects and parts of objects as are immediateljr
exposed to her rays : while from the feebleness of the light reflected from the atmosphere in
general, the shadows are strikingly contrasted with the lights. But if, after all your efforts to
strengthen the shadows, they are not sufficiently marked, you must finish the whole with touches,
in the proper spots, of lamp or ivory black, prepared with gum-water, which will give great
effect to the colours, and almost entirely destroy their transparency. When the painting is com-
pleted to your taste, let it stand till the colours are perfectly dry, and then with spirits of tur-
pentine give some delicate touches on both sides of the paper, at such places where the most
brilliant effect is to be produced, as the body of the moon, the fire-place, the torch, &c.—but
the other places where less transparency and illumination are suitable, should be touched with
5 a the
APPENDIX.
OF PAINTING TRANSPARENCIES;
THIS mode of painting, although by no means a new invention has of late years come
much into vogue into this country; and when employed on suitable subjects, and conducted
with judgement, it produces very pleasing effects. The subjects to which it is most applicable
are those in which a very strong effect of light is to be represented in a particular, part of the
picture, such as moon-light, a house on fire, a building illuminated by torches, and the like ;
and the eruption of a volcano, Vesuvius for instance, as seen from Naples, cannot be truly re-
presented in any other way, than by a transparent painting with the proper colours, illuminated
by a number of lamps placed behind it. In executing paintings of this sort, you must fix the
paper on a frame where it may be properly stretched and kept tight, and by means of which
it may be placed between you and the light, to examine the effect of the work in different stages
of the operation. The design of the painting is first to be traced in, and the colours applied in
the same way as with other stained drawings, for doing which, instructions have been already
given in the body of this- work ; and when this is executed with the several shades and tints
requisite, the picture is placed against the window or a strong light, in order that the shadows
may be heightened, and the several colours worked up to their proper tone. In doing this it is
sometimes necessary to apply the colours or Indian ink, on both sides of the paper, to strengthen
the effect, and produce a certain degree of opacity, requisite in. most cases of night-scenery.
For even the brightest moon enlightens only such objects and parts of objects as are immediateljr
exposed to her rays : while from the feebleness of the light reflected from the atmosphere in
general, the shadows are strikingly contrasted with the lights. But if, after all your efforts to
strengthen the shadows, they are not sufficiently marked, you must finish the whole with touches,
in the proper spots, of lamp or ivory black, prepared with gum-water, which will give great
effect to the colours, and almost entirely destroy their transparency. When the painting is com-
pleted to your taste, let it stand till the colours are perfectly dry, and then with spirits of tur-
pentine give some delicate touches on both sides of the paper, at such places where the most
brilliant effect is to be produced, as the body of the moon, the fire-place, the torch, &c.—but
the other places where less transparency and illumination are suitable, should be touched with
5 a the