DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0145
PALOMINO.
77
anything, because in a few days both kinds return to the same
colour they had in their natural state, which is a most vile and dirty
purple. Therefore, in such places, and in those which are exposed
to the inclemency of the weather, Vermilion should not be used at
all, either the natural or the artificial. But in covered places, and
those defended from the inclemency of the weather, it is a most
beautiful pigment, and keeps its colour very well, as I myself have
repeatedly experienced. And that it may keep its colour better, it
should not be laid on the stucco itself, but the Tierra Roxa should be
used first, and over that the Vermilion ; making the colour light
with white, and darkening it with Albin and Pavonazo, and in some
very dark places adding Sombre del Viejo, or Tierra Negra, and it will
be as fresh and beautiful as in oil painting.
As to the Ochres, a person need not be afraid of using them ; it is
only necessary to remark, that ochre which is not mixed with white,
darkens much in drying; although that kind which is called “de
Coleteros,”3- is more permanent and beautiful than that of Valencia;
Tierra Roxa has also the same property of growing darker.
Albin and Pavonazo do not change colour, and they supply the
place of carmine so well, that being used while the stucco is fresh, they
have sometimes deceived people, who thought they were carmine. And
I must tell you that Pavonazo is a degree lower in tone than Albin,
and this is not sold in shops, but is obtained from the copper mines
in the kingdom of Jaen ; and there and in all Andalusia, the painters
and gilders esteem it much, and it is even sold under the name of
Almagre.
The Sombre de Venecia is not to be depended on, because it loses
force, and gets much lighter coloured in drying, appearing, while the
stucco is fresh a fine colour, but the artist must beware of it, as it is
a deceitful pigment. Therefore, whoever likes may use it, but I
consider it as banished from this kind of painting, and in its place,
I use the Sombre del Viejo, which is a most beautiful colour, and
proper for all things, and as we possess this we shall not miss the
other.
The Tierra Verde which is also called Verde de Verona, is of an
excellent colour, and if it did not lose its force so much in drying,
would be invaluable. However, if used while the stucco is very fresh
it keeps its colour better. And it should always be used for green
a Coleteros—Those who made buff coats.
77
anything, because in a few days both kinds return to the same
colour they had in their natural state, which is a most vile and dirty
purple. Therefore, in such places, and in those which are exposed
to the inclemency of the weather, Vermilion should not be used at
all, either the natural or the artificial. But in covered places, and
those defended from the inclemency of the weather, it is a most
beautiful pigment, and keeps its colour very well, as I myself have
repeatedly experienced. And that it may keep its colour better, it
should not be laid on the stucco itself, but the Tierra Roxa should be
used first, and over that the Vermilion ; making the colour light
with white, and darkening it with Albin and Pavonazo, and in some
very dark places adding Sombre del Viejo, or Tierra Negra, and it will
be as fresh and beautiful as in oil painting.
As to the Ochres, a person need not be afraid of using them ; it is
only necessary to remark, that ochre which is not mixed with white,
darkens much in drying; although that kind which is called “de
Coleteros,”3- is more permanent and beautiful than that of Valencia;
Tierra Roxa has also the same property of growing darker.
Albin and Pavonazo do not change colour, and they supply the
place of carmine so well, that being used while the stucco is fresh, they
have sometimes deceived people, who thought they were carmine. And
I must tell you that Pavonazo is a degree lower in tone than Albin,
and this is not sold in shops, but is obtained from the copper mines
in the kingdom of Jaen ; and there and in all Andalusia, the painters
and gilders esteem it much, and it is even sold under the name of
Almagre.
The Sombre de Venecia is not to be depended on, because it loses
force, and gets much lighter coloured in drying, appearing, while the
stucco is fresh a fine colour, but the artist must beware of it, as it is
a deceitful pigment. Therefore, whoever likes may use it, but I
consider it as banished from this kind of painting, and in its place,
I use the Sombre del Viejo, which is a most beautiful colour, and
proper for all things, and as we possess this we shall not miss the
other.
The Tierra Verde which is also called Verde de Verona, is of an
excellent colour, and if it did not lose its force so much in drying,
would be invaluable. However, if used while the stucco is very fresh
it keeps its colour better. And it should always be used for green
a Coleteros—Those who made buff coats.