The History, Theory, and Practice of Illuminating: Condensed from 'The Art of Illuminating' by the same illustrator and authorWyatt, M. Digby (Matthew Digby), Sir
History
The History, Theory, and Practice of Illuminating: Condensed from 'The Art of Illuminating' by the same illustrator and author
Wyatt, M. Digby (Matthew Digby), Sir
Alphabet; Illumination of books and manuscripts; Initials
The gilding satisfactorily accomplished, the artist or amateur has only to
add the finishing tints and touches to his work, and then either to leave
it alone, or to varnish it in accordance with the directions which will be
given presently. If the work has been executed on canvass, it will remain
only to apply it to the surface for which it may have been destined. This
may be done by painting that surface with thick white lead, in two or three
coats, and by also similarly painting the back of the canvass. The latter
being then pressed evenly down upon the former, while the white lead upon
both is still tacky, and, left for a few days, will be found to have
attached itself with the greatest tenacity. Scrolls and panels cut out of
zinc sheets may be painted upon just as though they were cut out of
canvass, and may be fixed in their places by nails or screws. In
illuminating on wood, pretty effects may be obtained by varnishing
partially with transparent colours, such as the lakes, umber, Prussian
blue, burnt sienna, &c., so as to allow the grain of the wood to show
through,--restricting the use of opaque colour and gilding to a few
brilliant points.
Distempering is a method of colouring walls and ceilings in which powder
colour, ground up in water, and mixed with sufficient size to fix the
colour, is used instead of paint made with oil. The most simple employment
of distemper is in whitening ceilings, but it is also very much used in
theatrical decoration and scene-painting; and rooms are sometimes so
ornamented, the process being much less expensive than oil-painting. The
foundation of all the colours is whiting, which, having been set to soak in
water and break up of itself, is (when the top water is poured off) in a
fit state for use; common double size is then added, with as much of the
colour as will make the desired tint; but as this, when dry, will be many
shades lighter than it appears when wet, trials should be made on paper,
and dried by the fire till the colour required be attained. A gentle heat
is required for melting the size. Old walls are prepared for distemper by
being scraped and cleaned, and a coat of "clearcole" given to them. This is
merely thin size and water with a little whiting: it serves to wash and
smooth the walls and stop suction. Should there be any cracks or holes, a
thick paste of size-water and whiting is laid in them with a palette-knife,
and, when dry, smoothed down with pumice-stone, and another coat of
clearcole given, when the wall is in a proper state to receive the ground
tint; for new walls one coat of clearcole is sufficient. If it is intended
to lay on lines of various colours, the wall is, previous to the laying on
of the ground tint, set out as previously described; and the appropriate
colours put on in succession, according to the design to be followed. All
the colours required should be ground up, and kept ready prepared in
galley-pots well covered over, so as to be at hand at once. The colour
Public-domain text, read in full here on John Shaqi.
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