DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62133#0255
STERRIO-CHROMIE.
239
different class of composition had been chosen for the
exercise of Kaulbach’s peculiarly exalted genius !
I hear on all sides regret expressed that these frescoes,
which are exposed without the least defence against the
weather upon the external walls of the building, have been
executed in the old mode of fresco, and not according to
the new method of sterrio-chromic, in which Kaulbach’s
Berlin frescoes are being painted.
Sterrio-chromie is the discovery of the celebrated chemist
the Obert) erg rath von Buchs of Munich, and is considered
by German painters one of the greatest discoveries of the
age. Among its advantages over ordinary fresco and en-
caustic painting, are its greater durability, and the power
which the painter has of retouching and glazing. The
colours are mixed with water, and the whole picture perma-
nently fixed by profuse sprinklings of water in which is
mixed a certain proportion of fluoric acid.
I understand that sterrio-chromie is in fact a preserver
of the wall upon which the picture is painted, by the
chemical action of the solution sprinkled over the picture
whilst it is in progress, and when completed the ground on
which it is painted, and the colours of the picture, become
one hard flinty mass, the colours themselves being con-
verted into the hardest stone; whilst in ordinary fresco it
is a mere skin of flint which preserves the painting. So
hard, I am told, is a picture in sterrio-chromie that neither
fire nor damp can affect it. During the last twelve years
numerous experiments have been tried with this process,
and it is said to have stood all tests admirably.
That Kaulbach has perfect reliance upon sterrio-chromie
is proved by'his employing it as the medium by which he
perpetuates his great series of historical works at Berlin.
I have already referred to the Hogarthian element in
Kaulbach’s genius ; and to one design of his in par-
239
different class of composition had been chosen for the
exercise of Kaulbach’s peculiarly exalted genius !
I hear on all sides regret expressed that these frescoes,
which are exposed without the least defence against the
weather upon the external walls of the building, have been
executed in the old mode of fresco, and not according to
the new method of sterrio-chromic, in which Kaulbach’s
Berlin frescoes are being painted.
Sterrio-chromie is the discovery of the celebrated chemist
the Obert) erg rath von Buchs of Munich, and is considered
by German painters one of the greatest discoveries of the
age. Among its advantages over ordinary fresco and en-
caustic painting, are its greater durability, and the power
which the painter has of retouching and glazing. The
colours are mixed with water, and the whole picture perma-
nently fixed by profuse sprinklings of water in which is
mixed a certain proportion of fluoric acid.
I understand that sterrio-chromie is in fact a preserver
of the wall upon which the picture is painted, by the
chemical action of the solution sprinkled over the picture
whilst it is in progress, and when completed the ground on
which it is painted, and the colours of the picture, become
one hard flinty mass, the colours themselves being con-
verted into the hardest stone; whilst in ordinary fresco it
is a mere skin of flint which preserves the painting. So
hard, I am told, is a picture in sterrio-chromie that neither
fire nor damp can affect it. During the last twelve years
numerous experiments have been tried with this process,
and it is said to have stood all tests admirably.
That Kaulbach has perfect reliance upon sterrio-chromie
is proved by'his employing it as the medium by which he
perpetuates his great series of historical works at Berlin.
I have already referred to the Hogarthian element in
Kaulbach’s genius ; and to one design of his in par-