DOI issue:
No. 17 (August, 1895)
DOI article:Webb, Matthew: On Gesso, and some designs in a competition for a finger-plate
DOI Page / Citation link: https://doi.org/10.11588/diglit.17190#0172
On Gesso
however apparently novel, few of them in principle were
really unknown to art in the past; nowadays many simple
modifications are, for commercial reasons, exalted into a
secret which need be no mystery.
Among the most useful pigments, one may mention
distemper colours in tube, petroleum colours, colours
specially prepared for use with amber varnish, and different
wax vehicles.
Transparent colouring matter, either in solution or sus-
pension in the gum spirit varnish, practically constitutes the
lacquers (using the term very freely), especially used to tint
the cheaper gilding metals. They are usually sold prepared
ready for use. Palmer & Co., 78 Old Street, E.C., have a
varied stock of materials useful in the colouring of reliefs.
Such lacquer tinting is apt to look thin and poor, and one
must not demand of it more than a slight and ephemeral
effect of colour. Nevertheless, as gesso is properly but a
slight modelling, so the spontaneous,
unlaboured, easy look which lacquer-
ing possesses, suits gesso exceedingly
well, especially for the light orna-
mental themes which fluent gesso is
best suited to express.
Lacquer is best applied over leaf
metal, whether Dutch or gold; if put
over powder metal the stain or lac-
quer sinks in and increases the dul-
ness, which is at best always a defect
of the powder metal. This lacquer-
ing has the double advan-
tage,when a cheap metal has
been used, of preserving
from tarnishing, and at the
same time of tinting it. It is assumed always in
mentioning lacquering that metal is underneath.
But many coloured effects can be given at once
to a relief without any further treatment at all by
using various bronze powders; it is only neces-
sary to protect them from the air under a trans-
parent spirit varnish. They may be also applied mixed with
size or with varnish (a spirit varnish being better than oil), or
they may be brushed over, the surface having been purposely
prepared for them with gold size. Many also, if not all, of
these metallic shades may be procured in liquid form ready
for immediate application. Though the use of these methods
has been much vulgarised, it is for an artist to raise them
above the level of the fancy bazaar. One word of warning
should be given : in many of these lacquers for use with
the metal, the element of permanence of colour is very
doubtful, and it would be a pity to waste a carefully
modelled relief by adding lacquer colouring, unless you
had preserved a mould of the relief.
designed by Isabella To a white cast or fair piece of gesso modelling a very designed by Frederick
». ohaiwin edgbas- fa ; £ ^ h ^ 3 j turpentine or wilson edinburgh.
ton. " tarpeia ° ° 1 " scottie
!55
however apparently novel, few of them in principle were
really unknown to art in the past; nowadays many simple
modifications are, for commercial reasons, exalted into a
secret which need be no mystery.
Among the most useful pigments, one may mention
distemper colours in tube, petroleum colours, colours
specially prepared for use with amber varnish, and different
wax vehicles.
Transparent colouring matter, either in solution or sus-
pension in the gum spirit varnish, practically constitutes the
lacquers (using the term very freely), especially used to tint
the cheaper gilding metals. They are usually sold prepared
ready for use. Palmer & Co., 78 Old Street, E.C., have a
varied stock of materials useful in the colouring of reliefs.
Such lacquer tinting is apt to look thin and poor, and one
must not demand of it more than a slight and ephemeral
effect of colour. Nevertheless, as gesso is properly but a
slight modelling, so the spontaneous,
unlaboured, easy look which lacquer-
ing possesses, suits gesso exceedingly
well, especially for the light orna-
mental themes which fluent gesso is
best suited to express.
Lacquer is best applied over leaf
metal, whether Dutch or gold; if put
over powder metal the stain or lac-
quer sinks in and increases the dul-
ness, which is at best always a defect
of the powder metal. This lacquer-
ing has the double advan-
tage,when a cheap metal has
been used, of preserving
from tarnishing, and at the
same time of tinting it. It is assumed always in
mentioning lacquering that metal is underneath.
But many coloured effects can be given at once
to a relief without any further treatment at all by
using various bronze powders; it is only neces-
sary to protect them from the air under a trans-
parent spirit varnish. They may be also applied mixed with
size or with varnish (a spirit varnish being better than oil), or
they may be brushed over, the surface having been purposely
prepared for them with gold size. Many also, if not all, of
these metallic shades may be procured in liquid form ready
for immediate application. Though the use of these methods
has been much vulgarised, it is for an artist to raise them
above the level of the fancy bazaar. One word of warning
should be given : in many of these lacquers for use with
the metal, the element of permanence of colour is very
doubtful, and it would be a pity to waste a carefully
modelled relief by adding lacquer colouring, unless you
had preserved a mould of the relief.
designed by Isabella To a white cast or fair piece of gesso modelling a very designed by Frederick
». ohaiwin edgbas- fa ; £ ^ h ^ 3 j turpentine or wilson edinburgh.
ton. " tarpeia ° ° 1 " scottie
!55