The life, letters and work of Frederic Leighton. Volume IIBarrington, Russell, Mrs.
General
The life, letters and work of Frederic Leighton. Volume II
Barrington, Russell, Mrs.
Leighton of Stretton, Frederic Leighton, Baron, 1830-1896
Several friends of mine who use distemper, and he amongst the
number, tell me that by putting a preparatory coating of
distemper over thoroughly dry oil, you can with perfect safety
interpose a layer of _painting_ in distemper between two
paintings in oil--an extremely valuable thing for us _for
recovering quality_.
* * * * *
_January 31, 1890._
Many thanks for your valuable letter. I have had the information
entered in a little book, where I keep the outpourings of your
wisdom on matters chemical.
Thanks also for the card, in which you give me a somewhat long
name for my Gomme Dammar. I suppose in an appeal to a chemist
the _first_ portion would suffice.
* * * * *
_February 14, 1890._
Many thanks for your valuable note. I may say in passing that
the specimen of "Ruby Madder" sent by Mr. Laurie appears to me
to be inferior in brilliancy to both the Rose Madder and the
Madder Carmine furnished by Messrs. Roberson; and I have no
reason to doubt that the latter colours are perfectly
trustworthy.
It will give me great pleasure to receive the dedication of your
book, which I look forward to seeing with pleasure, and using
with profit.
* * * * *
_May 19, 1890._
Many thanks for your note, which seems to open up an interesting
point. I gather from what you say that the mode of _manufacture_
of a colour may affect its drying properties over a range
extending from drying very slowly to drying very rapidly; and I
shall be much interested in hearing what your experiments lead
to under this head.
* * * * *
_January 30, 1891._
Many thanks for your letter. I see that I had better wait for a
final opinion until the few months have expired which you still
require as tests of permanence. Meanwhile, I am a little unhappy
to see in the case of colour after colour the expression
"semi-permanent." I do not quite know what that means. Let me
know _at your leisure_ whether it means permanent under certain
conditions, and, if so, what; or merely in a general way that
the pigment stands, but only pretty well. The Rosso Saturno I
quite understand is to be set aside.
Public-domain text, read in full here on John Shaqi.
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