Essays towards the history of painting — John Shaqi
Essays towards the history of paintingCallcott, Maria, Lady
History
Essays towards the history of painting
Callcott, Maria, Lady
Painting -- History
The painting on the exterior of the inner case is, I believe, the most
laboured part of the process, and I have seen some which must have
occupied many days, perhaps many weeks, in the very elaborate outlining
and colouring in water-colour or distemper; and finally varnishing
or fixing the subject of this hieroglyph or allegory. The ground of
this painting is of very fine and pure white, resembling stucco. The
parts that are drawn on, and apparently outlined with a pen and then
coloured, are the only parts that are afterwards varnished:--the
blank parts of the white ground remain unvarnished, except where the
varnish-brush has occasionally slipped beyond the outline, and there
the white has become yellow. This white ground may be disturbed by
a wetted finger, which is not the case with the varnished parts.
Their varnish must have been of excellent quality, as it retains
its transparency and gloss in a most extraordinary degree; in some
instances appearing as if executed only a few days. In one that was
opened in Sir Benjamin Brodie’s new theatre in Kinnerton-street,
Knightsbridge, during the last summer, some persons were so deceived as
to believe the varnish to have been duly laid on and not yet dry; and
really it might appear so to an inexperienced eye, without touching.
What the nature of the pigments used were, I have no adequate
knowledge; they generally appear to be earthy or ochreous and opaque:
yet their artists understood the art of representing transparent
objects with them, for example:--in one which was opened about two
years since at the College of Surgeons in Lincoln’s Inn Fields, on
which several figures were introduced, one of them had its limbs
partly naked, partly covered by a thin transparent robe, and a third
degree seen through a double and thicker part of the dress. The body
of this mummy was enveloped in at least fifteen or twenty layers of
linen filet, measuring I think about one hundred and thirty yards of
handbreadth strips, torn the length way of the piece. The only _entire_
piece from one end to the other of the warp, which I could preserve,
measured eighteen feet, which, folded twice, made the length of their
ordinary robe or dress (four feet six inches), of which we met with
several examples. The outer general envelope or winding-sheet was in
one piece, about seven feet in length, and nearly two yards wide, of
excellently regular manufacture, with a very good and uniform selvage:
there were also various pieces of about a yard long, and two yards or
rather more in breadth, folded and placed under the hollow parts of
the body, together with three or four halves (all of the left side) of
robes or dresses, torn lengthwise, that had been much worn and darned,
or strengthened with much ingenuity and neatness. These were folded,
and laid behind or beneath the back as a palliasse. The name of this
mummy, as deciphered by Mr. Wilkinson and Mr. Pettigrew, was “Horseisi,
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account