DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0386
372
APPENDIX,
process for preserving the canvas in oil-paintings, and repairing defects
in it.
1. —Separate the canvas from the pannel or straining-frame, and lay it on a smooth table,
with the painting downwards; and nail it fast.
2. —Then take a piece of tin-foil, larger than the canvas; place it on a very-smooth table-,
and make the tin-foil as smooth as possible with your hand. Next melt some Salisbury glue in
the way in which it is used by cabinet-makers.
—Warm the tin-foil before the fire, and lay it again on the table; then wash it over with
the glue, and place it on the back of the canvas, secured as above, as quickly as possible.
Smooth it down perfectly with the hand, and let it remain in a warm room to dry.
4. —To repair the cracks in the canvas in an old oil-painting, lay it on a very smooth table,
with the face or the subject downwards. With a brush or a piece of fine linen cover the canvas
with some melted white wax, and with a warm flat smoothing iron rub over the wax, and press
k hard, which will draw the colours up to the canvas.
5. —To varnish the painting, clean the picture well; take some white wax and spirits of tur-
pentine, with a small quantity- of linseed oil and sugar of lead. Melt them over the fire, and dip
in the mixture a fine linen rag, with which wash your painting. Then with a fine linen rag rub
over the varnish till it begin to be polished. Let it remain till next day, and then rub it over
with a fine waxed cloth, and afterwards with a soft linen cloth: usins; them alternatelv: bv
which means the painting will receive a very fine polish.
Yyy these operations the cracks and small holes which frequently occur in old paintings in oil,
may be closed and repaired; and a coat of tin-foil may be afterwards glued on the back of
the canvas.
to lay mezzotinto prints upon glass.
Take a mezzotinto print: cut off the margin and lay the print flat in a dish of clear hot water,
and let it remain till it sink. In taking it up be careful not to break the paper, and press it
between pieces of cloth or paper, so that no water may appear, but the print be quite clamp.
Lay it then, face uppermost, on a flat table; have ready a plate of pure crown glass: lay some
Venice turpentine ail over one side of it,.with a soft brush, and lay it gently on the print. Press
it down that the turpentine may stick to the print: then pass the fingers over the back of the
print, from the middle outwards to the edges, that no blisters or air-bubbles may remain. Now
wet the print with a soft cloth, and rub it gently with the finger, when the paper itself will peel
off, leaving only the coloured impression on the glass. When it is dry wet it all over with oil of
turpentine until it become transparent, and set it to dry completely, when it will be fit for
painting. The colours used for painting in this manner are the usual oil-colours, and there is
nothing particular in the process.
LITHO-
APPENDIX,
process for preserving the canvas in oil-paintings, and repairing defects
in it.
1. —Separate the canvas from the pannel or straining-frame, and lay it on a smooth table,
with the painting downwards; and nail it fast.
2. —Then take a piece of tin-foil, larger than the canvas; place it on a very-smooth table-,
and make the tin-foil as smooth as possible with your hand. Next melt some Salisbury glue in
the way in which it is used by cabinet-makers.
—Warm the tin-foil before the fire, and lay it again on the table; then wash it over with
the glue, and place it on the back of the canvas, secured as above, as quickly as possible.
Smooth it down perfectly with the hand, and let it remain in a warm room to dry.
4. —To repair the cracks in the canvas in an old oil-painting, lay it on a very smooth table,
with the face or the subject downwards. With a brush or a piece of fine linen cover the canvas
with some melted white wax, and with a warm flat smoothing iron rub over the wax, and press
k hard, which will draw the colours up to the canvas.
5. —To varnish the painting, clean the picture well; take some white wax and spirits of tur-
pentine, with a small quantity- of linseed oil and sugar of lead. Melt them over the fire, and dip
in the mixture a fine linen rag, with which wash your painting. Then with a fine linen rag rub
over the varnish till it begin to be polished. Let it remain till next day, and then rub it over
with a fine waxed cloth, and afterwards with a soft linen cloth: usins; them alternatelv: bv
which means the painting will receive a very fine polish.
Yyy these operations the cracks and small holes which frequently occur in old paintings in oil,
may be closed and repaired; and a coat of tin-foil may be afterwards glued on the back of
the canvas.
to lay mezzotinto prints upon glass.
Take a mezzotinto print: cut off the margin and lay the print flat in a dish of clear hot water,
and let it remain till it sink. In taking it up be careful not to break the paper, and press it
between pieces of cloth or paper, so that no water may appear, but the print be quite clamp.
Lay it then, face uppermost, on a flat table; have ready a plate of pure crown glass: lay some
Venice turpentine ail over one side of it,.with a soft brush, and lay it gently on the print. Press
it down that the turpentine may stick to the print: then pass the fingers over the back of the
print, from the middle outwards to the edges, that no blisters or air-bubbles may remain. Now
wet the print with a soft cloth, and rub it gently with the finger, when the paper itself will peel
off, leaving only the coloured impression on the glass. When it is dry wet it all over with oil of
turpentine until it become transparent, and set it to dry completely, when it will be fit for
painting. The colours used for painting in this manner are the usual oil-colours, and there is
nothing particular in the process.
LITHO-