DOI Page / Citation link:
https://doi.org/10.11588/diglit.73712#0087
ANTHONY RAPHAEL MENGS. 69
chamber of the Prince of Asturias; the height is
of near eleven feet, and six in breadth.
Another painting ofthe same subjeCt on wood,
brought from Rome is in his Majesty's chamber
nine feet in height, and seven in breadth.
The estimation which the King bears for
this painting, will be conceived by his having
placed before it a crystal of equal size. This
cussora of placing crystals before paintings has
notwithstanding its inconvenience ; because they
cannot receive a light so as to view well at once
the entire; from whence it is necessary that
the spe&ator moves his situation in order to
examine the painting by parts. The dark co-
lours resseCt the light, and produce the effect of
a mirror. The Arts have not yet been able to
make the two superfices of a crystal equally
parallel and the larger it is the more encreases the
difficulty. A deviation in the surface, however
imperceptible it may be, alters the reflection of
light, and of course the figures of the piece. If
the paste of the crystal has any colours, which
happens to those made of Kali or Barilla, the^
which having a green ground, all the tints of the
painting ressect a certain stain of this colour.
The air which is shut up between the crystal and
the painting, being confined, alters and damages
the colours, and hastens the ruin ofthe picture.
A painting of Chrift Crucified as large as na-
ture, five feet high and four in breadth, is placed
in the bed chamber of his Majesty at Aranjuez.
In the same place are two portraits of the
King and Queen of Naples, in half figures, of
chamber of the Prince of Asturias; the height is
of near eleven feet, and six in breadth.
Another painting ofthe same subjeCt on wood,
brought from Rome is in his Majesty's chamber
nine feet in height, and seven in breadth.
The estimation which the King bears for
this painting, will be conceived by his having
placed before it a crystal of equal size. This
cussora of placing crystals before paintings has
notwithstanding its inconvenience ; because they
cannot receive a light so as to view well at once
the entire; from whence it is necessary that
the spe&ator moves his situation in order to
examine the painting by parts. The dark co-
lours resseCt the light, and produce the effect of
a mirror. The Arts have not yet been able to
make the two superfices of a crystal equally
parallel and the larger it is the more encreases the
difficulty. A deviation in the surface, however
imperceptible it may be, alters the reflection of
light, and of course the figures of the piece. If
the paste of the crystal has any colours, which
happens to those made of Kali or Barilla, the^
which having a green ground, all the tints of the
painting ressect a certain stain of this colour.
The air which is shut up between the crystal and
the painting, being confined, alters and damages
the colours, and hastens the ruin ofthe picture.
A painting of Chrift Crucified as large as na-
ture, five feet high and four in breadth, is placed
in the bed chamber of his Majesty at Aranjuez.
In the same place are two portraits of the
King and Queen of Naples, in half figures, of