Blackwood's Edinburgh Magazine, Volume 62, No. 383, September 1847Various
General
Blackwood's Edinburgh Magazine, Volume 62, No. 383, September 1847
Various
England -- Periodicals; Scotland -- Periodicals
It would appear that the pigments were, formerly as now, ground only in
oil: the vernix was added to the colour, by drops, when on the palette; so
that, should the new, or recovered old vehicles, if such they be, come
into general use, it will not be necessary to discard the supply of oil
colours from the shops of our colour-makers. The colours in tubes, which
happily have superseded the bladders, will still be in general request.
Northcote thought it a great advantage to the old Italian masters that
they were under the necessity of making most of their colours themselves.
This, certainly, was not the case in the earlier times; for the monks, who
were every thing--physicians, painters, chemists, &c.--were not only the
patrons and dealers, but were makers of the colours also. We cannot quite
agree with Northcote. The only objection we have to offer to the present
system of tube colours is as regards their cost; for, considering the
value of the materials, the cost of putting them up seems very exorbitant.
This is of little consequence, indeed, in painting easel pictures of no
great size; but if we are to proceed on the large scale, which the
Commission for the Fine Arts encourages, it would become a matter of some
consideration. It has been supposed that the first colour-shop in London
was set up by a servant of Sir Godfrey Kneller's; but there is reason to
believe, from some incidental remarks, that the trade existed in De
Mayerne's time. Some painters of great eminence had their favourite
colour-makers, employed, probably, by themselves exclusively. In a letter,
Titian regrets the death of the man who prepared his white,--and De
Mayerne says of Vandyke, "He spoke to me of all exquisite white, compared
with which the finest whitelead appears gray, which he says is known to M.
Rubens. Also of a man who dissolved amber without carbonising it, so that
the solution was pale yellow, transparent." We learn from this that there
were then colour-makers and varnish-makers, and also that the brilliant
white of Rubens may not always have been whitelead.
Public-domain text, read in full here on John Shaqi.
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