,,how ,,to ,,paint ,,permanent ,,pictures ,by ,,the ,,same ,,author ,,the ,,chemistry ,,and ,,technology ,,of ,,paints ,second ,edition1 ,revised and ,enlarged #f x #i4 #cff pages4 ,illustrated4 #d4ej ,,materials ,,for ,,permanent ,,painting ,a manual for manufacturers1 art dealers1 artists and collectors4 #e x #g4 #bjh pages4 ,illustrated4 #b4ej ,d4 ,,van ,,nostrand ,,company ,,how ,,to ,,paint ,,permanent ,,pictures ,,by ,,maximilian ,,toch ,,professor ,,of ,,industrial ,,chemistry1 ,,cooper ,,union2 ,,member ,,of ,,the ,,firm ,,of ,,toch ,,brothers2 ,,author ,,of ,,chemistry ,,and ,,technology ,,of ,,paints2 ,,materials ,,for ,,permanent ,,painting1 ,,etc41 ,,etc4 ,illustration ,,new ,,york ,d4 ,,van ,,nostrand ,,company ,,eight ,,warren ,,street #aibb ,,copyright1 #aibb ,,by ,d4 ,,van ,,nostrand ,,company ,,printed ,,in ,,the ,,united ,,states ,,of ,,america ,,preface ,the observant visitor to the great art galleries is astonished and pained to see the large number of pictures of the highest artistic excellence gradually being ruined on account of decomposition as shown by fading1 darkening1 cracking and peeling of the paint films4 ,this is all the more deplorable because the cause of the deterioration is well known and pigments1 vehicles1 canvas1 in fact all the materials needed by the painter to make absolutely permanent paintings are equally well known and require only intelligent choice and use by the artist4 ,the author has attempted to give this information in this volume which is intended to be a popular common sense treatise for all artistic painters who desire to produce permanent pictures which might otherwise in a few short years show most glaring defects4 ,the author believes that manufacturers of artists' material should be compelled by law to label every tube of paint as to its permanence and chemical composition so that artists could be assured that they were getting what the label indicated4 ,i acknowledge with great gratitude the valuable assistance of ,prof4 ,carel ,f4 ,l4 ,de,wild in reviewing this manuscript1 and for the excellent suggestions he has given me4 ,,table ,,of ,,contents ,,page ,,preface #e ,,introduction #i ,,the ,,simple ,,palette #ba ,,the ,,complex ,,palette #bc ,,commercial ,,painting #bf ,,palette ,,knives #bi ,,bitumen #cj ,,tempera ,,colors #cb ,,water ,,colors #dd ,,permanent ,,foundations ,,for ,,painting #ea ,,preparation ,,of ,,wood ,,as ,a ,,foundation ,,for ,,paintings #eg ,,painting ,,on ,,metal #fa ,,oils ,,and ,,mediums #fc ,,varnishes #fg ,,beeswax ,,and ,,other ,,waxes #gd ,,summary #gf ,,madder ,,lake ,,and ,,harrison ,,red #ha ,,lakes ,,to ,,be ,,avoided #hc ,,painting ,,the ,,next ,,day #hd ,,true ,,naples ,,yellow #hf ,,new ,,whites #hi ,,amber ,,varnish #ia ,,bloom #ic ,,repainting #if ,,restoration ,,and ,,cleaning ,,of ,,paintings #ih ,,framing #ajc ,how ,to ,paint ,permanent ,pictures ,,introduction ,it is astonishing that1 in these days of progress1 no corresponding advance has been made in practical instruction in the composition of pigments1 mediums and all material necessary to the production of permanent works of art1 whether they are easel paintings1 or water colors for the adornment of the home or public places1 or in tempera and fresco for decorations4 ,there is not1 to my knowledge1 a regular course of lectures on this subject at any of the ,art ,schools in ,england1 ,italy1 ,france or ,america1 in which students are taught what materials to use and what to avoid4 ,during an experience of more than thirty years in the manufacture of pigments and mediums for all types of painting1 ,i have investigated the methods1 analyzed the material and demonstrated the folly of most of the procedures in common use to-day1 and feel that there is a demand for a little book of this kind1 which painters can use1 and from which art students can acquire a sane method of producing permanent results4 ,if the painter once knows1 either mechanically or unconsciously1 the pigments that are absolutely permanent1 and the principle involved in producing paintings which will not crack1 fade1 darken1 peel1 blister or decompose1 his or her mind can be taken up completely with the artistic effect to be produced1 without thinking for a moment of either the mechanical or the scientific side of the question1 and without his or her artistic feeling being disturbed during the process of painting4 ,it is quite natural that a man in my position1 who has met many painters and who has discoursed with them on this subject1 has had many of them confess time and again that the practical and technical side of painting has always disturbed their peace of mind whenever they have been in the midst of serious work4 ,and so1 the object of this book is to convey to the painter1 in simple language1 and without going into any abstruse science of any kind1 the reasons why certain materials should be used and certain materials should be avoided4 ,i wrote a book which went into the subject of all the pigments and all the mediums in a more scientific manner#a and in that book ,i gave what is regarded as the simple permanent palette4 ,but it is obviously essential that a more complete and practical dissertation on this subject will be of benefit to those who have selected artistic painting as their life work4 ,i have heard1 time and again1 the statement that we do not know in this age how to make the materials which the older and great masters used4 ,it has been dinned in my ears frequently that our materials are so worthless that uniform and permanent results cannot be obtained4 ,nothing is further from the truth1 and all one has to do is to see the enormous amount of permanent painting that exists outside of the artistic field to realize that the science of paint making is more perfect to-day than it ever has been4 ,the manufacturers of ordinary house paints in the ,united ,states all1 more or less1 guarantee1 within reasonable limits1 that the paints which are applied to the exterior of buildings will last five years4 ,i have a case in mind where four huge smokestacks were painted1 near the seashore1 and at the end of ten years the paint was still in perfectly good condition4 ,i ask anyone who reads this1 and who is an artistic painter1 how long does he or she think an artistic painting would stand1 exposed to the sea air1 to the sun1 rain1 frost and winds8 ,the chances are that no artistic painting1 executed with the same thickness of coating as structural paint1 would last three months4 ,this is fair evidence of the fact that structural paint1 which is really simple paint1 contains the inherent quality of permanence1 for reasons which ,i will explain later4 ,take the case of entrance doors in ,france1 ,england and the ,united ,states1 which are painted and varnished and exposed to the elements1 and see how perfectly these stand for several years4 ,it is on this principle that artistic painting must be based for absolute permanence1 for artistic painting is never subjected to the elements and is never subjected to the extremes of temperature which menace the longevity of house or automobile painting4 ,in fact1 there is no reason why a painting on the interior of any building1 or suitably framed or covered in any gallery1 with reasonable care should not last for an unlimited time4 ,i have seen the fresco decorations in ,italy1 which are as good to-day1 so far as ,i know1 as the day they were applied4 ,many of the primitive ,italian paintings are simply remarkable for their permanence1 even though the wooden panels on which they were painted are worm-eaten and rotted2 and ,i have seen any number of paintings executed within my time by prominent painters that have cracked1 faded and deteriorated because wrong materials were applied and insufficient care was exercised in the application and proper sequence of the pigments and mediums employed4 ,there are not more than fifteen pigments necessary for the painting of a work of art2 and1 out of these fifteen1 nine or ten are sufficient for every purpose4 ,to show the folly of so many colors1 you can pick up any catalogue and find the following ,green ,pigments3 ,chrome ,green1 ,nos4 #a1 #b1 and #c1 which means ,light1 ,medium and ,dark4 ,cinnabar ,green1 ,pale and ,light4 ,olive ,green1 ,medium and ,deep4 ,emerald ,green4 ,prussian ,green4 ,malachite ,green4 ,oxide of ,chromium4 ,oxide of ,chromium1 ,transparent4 ,viridian ,green4 ,cobalt ,green4 ,emeraude ,green4 ,emerald ,oxide of ,chromium4 ,ultramarine ,green4 ,french ,veronese ,green4 ,green ,lake4 ,permanent ,green1 ,light1 ,medium and ,deep4 ,zinnober ,green1 ,light1 ,medium and ,deep4 ,alizarin ,green4 ,paris ,green4 ,sap ,green4 ,venetian ,green4 ,copper ,green4 ,one ,german manufacturer of considerable reputation mentions seventy-nine varieties of ,green2 one hundred and twenty-three varieties of ,yellow2 one hundred and seventy-nine of ,red2 seventy-five of ,brown2 seventy-nine of ,blue2 thirty-two of ,black and twelve of ,white4 ,there is absolutely no license for the manufacture of such an enormous variety of pigments1 when1 at most a dozen will do4 ,all in all1 one ,german catalogue contains five hundred and seventy-nine varieties of colors4 ,in addition to these1 there are probably a number of others that are sold under proprietary names1 and ,i ask any painter who has the slightest skill1 whether it is necessary to have more than one or two ,greens to produce any and every shade that he may desire4 ,if he is a painter of any skill1 there is no need for him to have all of these ,greens1 some of which are good--most of which are fugitive4 ,in addition to the one or two ,greens which he may have on his palette1 various mixtures of ,yellow and ,blue give various tones and shades of ,green4 ,i have singled out ,green as an example of the multiplicity of colors that exists4 ,the same repetition and duplication of pigments will be found under the ,yellows1 ,reds1 ,blues and ,blacks4 ,as far as ,whites are concerned1 there are a large number of proprietary ,whites2 and1 in addition1 there are ,silver ,white1 ,zinc ,white1 ,flake ,white1 ,white ,lead1 ,permanent ,white1 c42 whereas1 the only two necessary on the painter's palette are ,zinc ,white and ,flake ,white 7,white ,lead71 and perhaps1 occasionally1 ,permanent ,white 7,blanc ,fixe74 ,the more colors that are presented to the painter1 the more embarrassed he will become as to which he really ought to use4 ,painters make the one serious mistake of attempting to get immediate results4 ,it was told of ,sir ,joshua ,reynolds that he would not use permanent ,vermilion in order to obtain flesh tints2 for1 he said he wanted certain warm tones produced by mixtures of ,lakes and other pigments1 so that when his pictures were finished they would be pleasing to him4 ,the results showed that even during his lifetime they were displeasing to his patrons1 and particularly to him1 but yet he would not learn the lesson that the multiplicity of the application of pigments involved4 ,it is very unfortunate that the artificial coal tar dyes are so beautifully brilliant and give such immediately enticing results4 ,it is equally unfortunate that when these artificial colors are exposed to our civilized atmosphere1 which contains chemical substance due to the gases of cooking and of manufacture1 many of these pigments are attacked4 ,they tone down1 and not only do they oftimes lose their brilliancy1 but frequently they lose the characteristic shades for which they were employed4 ,then1 again1 sunlight1 as we all know1 has a deleterious effect on all of the organic pigments1 and darkness has an equally deleterious effect on many of the varnishes and all the drying oils4 ,sir ,joshua ,reynolds must have glazed his portraits with a great variety of ,lakes1 including ,madder2 and1 where he used vegetable ,lakes and ,carmine as a glaze1 the faces have assumed1 in time1 a ghost-like appearance4 ,,the ,,simple ,,palette ,the average painter can get along perfectly with ten colors4 ,in fact1 the skilful artist can paint practically any picture he wants with ,red1 ,yellow1 ,blue1 ,black and ,white4 ,the ,red1 in this instance1 would be a bright iron oxide1 sold under the name of ,venetian ,red or ,light ,indian ,red4 ,the ,yellow would be ,medium ,cadmium4 ,the ,blue would be ,ultramarine ,blue4 ,the ,black would be ,lamp ,black4 ,the ,white would be ,zinc ,white4 ,but1 in order to work no hardship on the painter1 ten colors are all that are needed for the average work4 ,these ten can be intermixed1 with the exception of ,madder ,lake1 will not fade1 will not react upon each other1 nor will they interfere with the drying of each other4 ,following is the ,palette with which an average painter can get along perfectly and from which no bad results are ever obtained3 ,lamp ,black4 ,zinc ,white4 ,bright ,red ,iron ,oxide4 ,raw ,sienna or ,yellow ,ochre4 ,burnt ,umber4 ,chromium ,oxide1 ,opaque4 ,chromium ,oxide1 ,transparent4 ,ultramarine ,blue1 or ,cobalt ,blue4 ,cadmium ,yellow4 ,madder ,lake4 ,madder ,lake must not be mixed with any pigment containing the ,yellow ,oxide of ,iron1 like ,ochre or ,raw ,sienna4 ,it is wise1 if it can be helped1 not to mix it with any other pigment1 but to use it as a glazing color4 ,yet1 there is no harm in mixing ,madder ,lake with ,lamp ,black or bright ,red ,oxide of ,iron1 or ,cadmium ,yellow4 ,,the ,,complex ,,palette ,the following are colors which may be mixed with each other without producing any deleterious effect or without undergoing any change2 excepting ,madder ,lake1 as mentioned on the previous page4 ,lamp ,black4 ,ivory ,black4 ,bone ,black4 ,graphite4 ,zinc ,white4 ,permanent ,white4 ,bright ,red ,oxide4 ,venetian ,red4 ,indian ,red4 ,burnt ,sienna4 ,raw ,sienna4 ,yellow ,ochre4 ,burnt ,umber4 ,roman ,ochre4 ,french ,ochre4 ,oxford ,ochre4 ,chromium ,oxide1 ,opaque4 ,chromium ,oxide1 ,transparent4 ,ultramarine ,blue1 ,natural or ,artificial4 ,cobalt ,blue1 ,natural or ,artificial4 ,cadmium ,yellow1 all shades4 ,english ,vermilion2 or any ,vermilion made of ,mercury4 ,madder ,lake or ,alizarin ,lake4 ,with the exception of the ,madder and ,alizarin#b ,lakes1 all the other colors can be mixed with each other without any danger of decomposition1 and ,madder ,lake can be mixed with most of these colors1 with the exception of the following3 ,yellow ,ochre4 ,raw ,sienna4 ,transparent ,chromium ,oxide4 ,for diluting1 ,madder ,lake1 ,permanent ,white 7,blanc ,fixe7 may be used4 ,,commercial ,,painting ,if you take up any art dealer's catalogue1 you will find more than a hundred varieties of colors2 and1 among them1 the vast majority should not be used by the average painter4 ,but1 there is a legitimate use for them in commercial painting4 ,in sketching1 for advertising purposes or for book illustration1 brilliant colors are permissible1 where half-tone reproductions are desired2 and1 under the circumstances1 it would be well for the painter to know exactly what he is using4 ,the average painter does not know that ,cremnitz ,white1 ,flake ,white and ,white ,lead are identical in composition4 ,nor1 does he know that ,silver ,white and ,zinc ,white are the same4 ,in many of the ,states of the ,united ,states1 laws have been enacted which compel manufacturers of house paints to label each container as to its true composition4 ,if a man is buying a ready-mixed paint and is supposed to be getting a mixture of ,zinc ,oxide1 ,white ,lead1 ,linseed ,oil and ,drier1 the label must so state1 and ,i have advocated for a long time that artists' tube colors ought to be labeled as to their true composition4 ,a color1 for instance1 like ,zinnober ,green1 which is purely and simply a name that trades on the reputation of ,zinnober ,red1#c should be labeled as to composition4 ,this is a mixture of ,prussian ,blue1 ,chrome ,yellow and ,white1 and is only permanent when used alone on surfaces1 excepting plaster or ,portland ,cement concrete4 ,the painter would then know what to use and what to avoid4 ,it must be understood that ,i am not condemning the manufacture of the brilliant aniline tube colors entirely1 because there is some legitimate use for them2 but1 it is my object to attempt to educate the painter in a simple ,palette1 so that he may be sure of the lasting qualities of his art4 ,,palette ,,knives ,painters should adopt horn palette knives instead of steel palette knives4 ,to illustrate the reason for this--if ,naples ,yellow be taken and smoothed out with a steel knife1 the ,naples ,yellow turns ,brown and ,black in streaks1 because there is a chemical action between the steel and the chemical composition of the ,naples ,yellow4 ,this is true of many colors2 and where painters are inclined to do some painting with knives instead of brushes1 it is preferable to use a horn or hard rubber knife1 because no decomposition can possibly take place4 ,,bitumen ,bitumen and its homologues1 such as ,vandyke ,brown1 ,cassel ,brown and ,asphaltum1 should1 under no circumstances1 be used by any artistic painter4 ,if you will look up the literature of photography before the days of the daguerreotype1 photographs were taken on ,bitumen1 because it was so sensitive to the light that within a day a negative or positive imprint could be obtained by coating a sheet of silver or glass with a ,bitumen solution4 ,where the light acted on the ,bitumen it became ,black and insoluble1 and where the light did not strike it1 it remained ,brown and soluble4 ,more damage has been done to artistic painters by the use of ,bituminous pigments than by any other4 ,dupr and ,jacque1 of the ,barbizon ,school1 are two examples of painters whose work deteriorated through the use of ,bitumen4 ,it may be true that a pleasing effect is obtained when ,bitumen is employed as a glazing material1 but in time the picture darkens1 and restoration is impossible--first1 because of the solubility of certain parts of the ,bitumen that have not been acted upon by light2 and second1 because any attempt to remove the part that has turned ,black destroys the original painting4 ,vandyke ,brown and ,cassel ,brown contain ,bituminous materials1 and ,asphaltum is the same thing as ,bitumen4 ,,tempera ,,colors ,tempera ,colors1 or ,tempera ,painting1 existed long before ,oil ,colors were known1 and ,tempera ,medium was used five thousand years ago by the ,egyptians in their painting4 ,egyptian coffins and sarcophagi were painted with both glue size and egg tempera4 ,it is well known that the ,egyptians manufactured very excellent grades of glue either by boiling parchment or bones and hides of animals4 ,they were excellent cabinet makers and used glue very largely in joining pieces of wood4 ,in the great museum at ,cairo there are to-day many samples of furniture glued together with ,egyptian glue1 which are still in excellent condition4 ,it is1 however1 more than likely that little or no binder was used when the pigments were applied on the various tombs or temples1 even to those built about #aejj years later1 like the ,temple of ,karnak4 ,we all know that the climate of ,egypt is exceedingly dry and therefore no rain can wash off or disintegrate a cold water paint made by means of pigment and glue4 ,the ,nile clay and ,nile mud largely used in building are slightly alkaline and in many respects similar to the adobe mud in ,new ,mexico and ,arizona4 ,this mud contains a small percentage of free lime1 and any earthy substance which contains free lime will in time act like a weak cement and become firmly bound4 ,it is therefore my opinion that many of the decorations made by the ,egyptians were made without any binder other than the lime naturally found in the soil1 and in a few cases the glue was used4 ,i also judge1 from the nature of the implements used1 that the pigments were rubbed into the surface and they in time became part of the surface4 ,i do not refer to the splendid decorative work on the wooden sarcophagi when ,i say little or no binder was used1 for in these coffins and on the outside of the linen wrappings there are some really wonderful decorative paintings in which binders were used4 ,the portraits outside of the mummy wrappings in the second century were done with wax and resins and are excellent works of art4 ,the primitive ,italians were past-masters at the art of making ,tempera ,medium1 as evidenced by their paintings still in existence1 a large number of which are in absolutely perfect condition4 ,tempera ,medium1 generally speaking1 is a mixture of either the whole egg--or1 more correctly speaking1 the white of the egg--and a small quantity of drying oil and water4 ,when the white of the egg is beaten up with linseed oil or poppy oil1 it forms a very weak emulsion or soap1 from a chemical standpoint4 ,this is really nothing more or less than a solution of flexible adhesive1 or glue4 ,tempera ,medium is also made from ,casein1 which is an adhesive element held in solution in milk4 ,this is separated from the milk1 chemically1 and dried1 dissolved in weak ammonia water1 and mixed with linseed oil4 ,in other words1 ,tempera ,medium is a ,water ,color ,medium1 to which a little drying oil1 or other adhesive1 has been added4 ,on account of the weakness of the binder and the large quantity of water contained1 which entirely evaporates1 the color is left absolutely flat and without the slightest sign of gloss1 unless piled on too thickly4 ,after this has been allowed to dry for a few days1 it may be varnished with a number of varnishes1 which ,i will describe later on1 when it has all the appearance of an oil painting4 ,there are such a large number of tempera tube colors made that it is unnecessary for the artist to make his own4 ,tempera ,colors do not change1 excepting1 of course1 those which are inherently defective1 and it is unfortunate that in looking over the list of ,tempera ,colors for sale1 ,aniline ,lakes should be manufactured and sold at all4 ,colors1 however1 which really have inherent defects1 like ,flake ,white1 ,chrome ,yellow and ,paris or ,emerald ,green 7which turns ,black and ,brown when submitted to sulphur fumes of the atmosphere7 remain absolutely permanent as soon as they are varnished4 ,tempera ,medium made with the whole egg contains a very large percentage of sulphur1 and for this purpose the ,tempera ,medium1 when pigments like ,chrome ,yellow1 ,flake ,white and ,paris ,green are used1 should be replaced by a ,tempera ,medium made of ,white of ,egg and ,oil1 or ,casein and ,ammonia4 ,the ,ammonia1 it must be understood1 plays no role1 since it is only used as a solvent for the ,casein1 and during the process of cooking or boiling is driven off1 so that a boiled ,casein emulsion of ,linseed ,oil has no effect on any color4 ,the white of the egg contains a very little oil1 while the yolk of the egg contains as high as twenty per cent4 of fat or oil1 thus adding to the flexibility of the medium4 ,but1 since the yolk of the egg ranges from a light ,yellow to an ,orange1 it can be readily seen that it is not suitable for the manufacture of white or light shades of ,tempera ,colors4 99 99 99 99 99 ,cennini recommends1 alternately1 the yolk and the white1 depending upon the purpose1 mixed with the juice of figs4 ,this1 evidently1 must refer to the sap of the fig tree2 for1 it is well known that rubber is obtained from the fig tree4 ,a slight incision in any fig or rubber plant gives a milky excrescence1 which has considerable adhesive power1 and which contains about half rubber and half water1 in the form of an emulsion4 ,the yolk of the egg was1 however1 mostly used for fresco1 panel and metal4 99 99 99 99 99 ,dry white of egg may be bought as a commercial article1 as eggs are gathered for this purpose in large quantities in ,china4 ,this may be dissolved in a weak alkaline solution1 and of course this solution must be made in the cold1 the alkali1 if it be ammonia1 being allowed to evaporate at room temperature1 even after the oil is added4 ,otherwise1 as anyone knows1 the boiling of any white of egg solution1 coagulates it1 leaving hard boiled white of egg as the result4 ,the ideal ,tempera solution for manufacturers to use would1 therefore1 be ,casein1 to which the requisite amount of oil should be added--or1 white of egg and a drying oil4 ,unless a preservative be added to a ,tempera emulsion1 it will rot and decompose in a very short time4 ,for this purpose there are many preservatives4 ,oil of ,cloves has been used from the time of the ,egyptians4 ,in fact1 boiling or mixing with spices has been regarded as the natural disinfectant and preservative4 ,modern chemistry1 however1 teaches us that materials like ,benzoate of ,soda1 ,salicylic ,acid1 ,boric ,acid and ,carbolic ,acid are the best preservatives1 although if insufficient amounts are added1 the ,tube ,colors will decompose in time4 ,if ,tempera ,colors are used in the place of ,water ,colors for painting on paper1 care must be exercised that the colors are applied very thinly2 for1 if the slightest attempt at impasto is tried1 the colors will crack1 and in many instances fall off after they have thoroughly dried out4 ,the binder in ,tempera ,colors is really so weak that it will not support by gravity a large quantity of pigment4 ,therefore1 thin painting in ,tempera1 especially on paper1 is always essential4 ,the ,permanent ,palette for ,tempera ,colors is the same as that for ,oil ,colors4 ,if no interaction between ,tempera ,colors takes place while they are in the process of drying1 there can be no reaction that will ever take place after they are once dried1 since dry chemicals do not react4 ,hence1 after ,tempera ,colors are varnished1 they may be regarded1 if permanent to light1 to be permanent forever4 ,there comes1 then1 the question which has been mooted so often among artistic painters--,why varnish a ,tempera painting at all1 since the idea is to produce the flat effect8--to which the answer must be made that a painting1 no matter of what it is made1 unless hermetically sealed1 either in a glass covered frame or with varnish1 or both1 is bound to be acted upon by our modern indoor atmosphere1 and varnishes can be made1 and are made1 which dry with an absolutely ,matte finish1 so that these may be used with perfect success over a ,tempera picture4 ,there are several types of ,tempera ,colors on the market4 ,strictly speaking1 a ,tempera ,color should be a mixture of ,albumen1 made either of dried or fresh white of eggs1 linseed oil and water beaten up into an emulsion4 ,it is not generally known among the laity that all vegetable oils1 whether they be drying or non-drying1 will make an emulsion with lime water or any other alkali1 but lime water is probably the best emulsifying agent to use4 ,this medium1 when mixed and ground with dry colors1 forms the well-known ,tempera1 similar in all respects1 to that used by the primitive ,italians4 ,one has only to see the remarkable permanence of the early ,italian ,tempera painting to conclude beyond peradventure that this medium must be regarded as one of the most permanent in existence4 ,there are further types of ,tempera ,colors on the market which contain little or no albuminous material1 but which are simply mixtures of linseed oil and water4 ,i am refraining from discussing scientifically the manufacture of emulsion paints1 because that has been described fully and at great length in another publication4#d ,so that1 for the present1 it is only necessary to say that it is a simple matter to combine oil and water for ,tempera painting4 ,there are paints on the market sold under the name of ,matte ,colors and ,tempera ,colors1 which are emulsions of linseed oil and water only4 ,but1 these have neither the plasticity nor the smoothness of film1 after they are dry1 of the ,tempera ,colors which contain albumen4 ,if the artistic painter will use only those pigments previously described which are permanent1 whether they be ground in ,linseed ,oil or whether they be ,tempera ,colors1 and a medium so prepared that noxious gases cannot penetrate through either side1 absolutely permanent results will be obtained4 ,,water ,,colors ,water ,colors are either put up in little cakes1 in pans or in tubes4 ,in every instance1 they are ground very finely in a watery ,medium to which some glutinant material has been added1 such as ,gum ,arabic2 and1 in the case of tube colors and pan colors1 ,glycerine1 sugar or ,glucose1 to prevent them from hardening or drying out entirely4 ,water ,colors1 excepting those of the ,tempera type1 which contain oil1 cannot be varnished1 but they are 8fixed0 with a solution of gum or ,casein1 so that they do not rub off or drop off of their own weight4 ,there are entirely too many unstable ,water ,colors made4 ,some manufacturers carry as many as one hundred and forty different pigments in cakes1 pans and tubes4 ,a generation ago some artists fixed their water colors by means of ,gum ,arabic4 ,in some cases the gum shriveled up and became opaque4 ,water colors should1 of course1 never be varnished1 but may be fixed1 if necessary with a very weak casein solution4 ,the perfect and simple palette of ,water ,colors is practically the same as that of ,oil ,colors1 with a few additions1 as follows3 ,zinc ,white4 ,constant ,white4#e ,lamp ,black4 ,yellow ,ochre4 ,raw ,sienna4 ,raw ,umber4 ,burnt ,sienna4 ,cadmium4 ,burnt ,umber4 ,indian ,red4 ,venetian ,red4 ,ultramarine ,blue4 ,cobalt ,blue4 ,chrome ,green1 ,opaque4 ,chrome ,green1 ,transparent 7,emerald ,oxide of ,chromium74 ,vermilion4 ,madder ,lake4 ,a ,water ,color painting must be hermetically sealed in the frame and it must not be backed up with a thin ,veneer of wood1 for time and again these wood veneers contain knots which are very resinous1 and these resins1 in a warm room1 will evaporate1 strike through and form a yellow spot or ring on the painting itself4 ,the best way to frame or hermetically seal a water ,color1 in order to make it permanent1 is to have a glass front and the glass should be fastened around the inner edge of the frame by means of a strip of adhesive paper to exclude air and moisture4 ,the ,water ,color is then inserted and backed up with a piece of cardboard1 academy-board or thin metal1 such as ,zinc1 ,aluminum1 or even ,sheet ,iron4 ,when this has been thoroughly fastened by means of brads or nails1 the entire back of the picture is then sealed with heavy paper which has been thoroughly soaked on both sides with a good glue or starch size4 ,in this manner a ,water ,color will remain permanent4 ,a strip of wood1 a quarter of an inch thick1 should be inserted between glass and drawing1 so as to prevent the paper from resting against the glass4 ,water ,color pigments may be mixed with each other without danger of reaction1 because1 once they are dry1 no further reaction will take place1 as dry colors do not interact4 ,an exception1 of course1 must be made in the case of ,flake ,white and ,ultramarine ,blue1 although ,flake ,white as a ,water ,color is totally unnecessary4 ,the question of the hiding power of ,flake ,white as compared with other colors1 will be mentioned later4 ,but1 a good coating of fixative1 whether it be composed of a glue size or a ,casein size1 or even an alcohol varnish1 is essential in the protection of ,water ,colors from atmospheric effects4 ,colors ,which ,are ,absolutely ,permanent ,which ,are ,not ,generally ,used ,and ,which ,may ,be ,mixed ,with ,any ,other ,color ,without ,decomposition--,not ,mentioned in the ,simple ,palette4 ,black ,lead4 ,graphite4 ,alumina4 ,blanc ,fixe4#f ,charcoal ,black4 ,charcoal ,gray4 ,mineral ,gray4#g ,ultramarine ,ash4#h ,ultramarine ,green4 ,ultramarine ,violet4 ,ultramarine ,red4 ,colors ,which ,may ,be ,used ,alone ,and ,which ,are ,perfectly ,permanent ,after ,they ,are ,varnished4 ,flake ,white4 ,chrome ,green--,light1 ,medium and ,dark4#i ,chrome ,yellow--,light1 ,medium and ,orange4 ,prussian ,blue4 ,emerald ,green4#aj ,antwerp ,blue4 ,naples ,yellow4 ,orpiment4 ,chrome ,red4 ,indian ,lake4 ,genuine ,alizarin ,lakes of all shades4 ,burnt ,umber4 ,madder ,lakes of all shades4 ,chromate of ,barium4#aa ,chromate of ,zinc4#ab ,chromate of ,strontium1#ac 7sometimes called ultramarine yellow74 ,,permanent ,,foundations ,,for ,,painting ,many a painting decomposes1 cracks1 chips and otherwise fails1 because the foundation upon which it is painted is unstable4 ,there is an enduring feature connected with oil paintings which has been described elsewhere#ad and it is not necessary to go into this subject in this volume2 but1 suffice it to say1 that canvas is the least permanent of all foundations1 and there is hardly any one of the paintings by the ,old ,masters1 or even any of the paintings in existence by the ,modern ,masters of one hundred years ago1 that has not been relined2 that is to say1 the canvas has been mounted on other canvas in order to give it stability and permanence4 ,the principal foundations that have been used have been wood of various types1 and metal4 ,wood really is as permanent as anything in existence1 excepting that eventually it becomes either rotted1 through excessive moisture1 or a certain worm invades it and bores irregular holes through it4 ,the most permanent of all foundations is metal4 ,the ,dutch have painted on copper1 and where the copper has been rather smooth the paint has eventually curled or peeled4 ,sheets of ,zinc or sheets of ,aluminum are regarded to-day as the most permanent foundations for all paintings up to a certain size1 but beyond a certain size canvas must necessarily be used4 ,i have always advocated the painting of canvas on the reverse side1 to prevent noxious gases from working their way through to the under side of the painting1 and the painting of the reverse side of canvas is not as simple as it may seem4 ,in the first place1 if a painting is to be protected by painting the reverse side of the canvas1 after the painting has been completed1 unequal tension takes place and the painting buckles1 so it is necessary under all circumstances to remove the canvas from the stretcher and re-stretch it4 ,then again1 ,linseed ,oil paint must not be used either on cotton or linen direct4 ,linseed ,oil is acid1 and eventually rots or decomposes all vegetable fibre4 ,it is for that reason that canvas is always first prepared with a glue solution1 which is neutral and prevents the soaking in of the oil paint1 so that if the reverse side of the canvas is to be painted1 it must be either coated with a glue solution1 or1 what is equally good1 it must receive a thin coating of ,shellac ,varnish4 ,glue solutions are made by using a double boiler1 such as carpenters use1 or such as housewives use for boiling rice or other cereals4 ,a pound of glue or gelatine is soaked overnight in a quart of cold water4 ,this swells the glue and makes it ready for boiling4 ,then it is placed over the fire in a double boiler and more water added1 until it has the consistency of very thin cream4 ,after it has been allowed to cool1 it is applied to the canvas4 ,then1 after that1 any good mixed oil paint may be applied4 ,i have1 however1 always recommended a mixture of such pigments which shall neither dry too hard nor too soft and will not eventually become too brittle4 ,for this purpose1 the following pigments may be mixed and may be obtained from any reputable dealer in house paints3 ,one pound of ,red ,lead in ,oil4 ,one pound of ,zinc ,white in ,oil4 ,one pound of ,pure ,white ,lead in ,oil4 mixed with one-half pint of ,turpentine1 to which one-half pint of raw ,linseed ,oil is added4 ,this makes a salmon-colored ready mixed paint which dries slowly1 evenly and is very impervious1 and if the color is at all objectionable and too light1 ,lamp ,black may be added to produce a ,chocolate ,brown4 ,the ,lamp ,black should be added in oil without the addition of any further varnish or drier4 ,but this must1 of course1 be applied over the glue size heretofore mentioned1 and at the end of a week the painting can be restretched and will show no corrugations or buckling4 ,in spite of wood being a more durable painting material than canvas1 artists prefer canvas1 simply on account of the difference in surface2 for1 the twill of the canvas gives the pigment an unevenness which causes it to reflect and refract light1 much to the advantage of the painting4 ,gilbert ,stuart1 in later life1 painted many portraits on panels that were grooved to give the impression of canvas1 and he had the surface for many of his panels prepared in such a way as to imitate the weave to which he was most accustomed4 ,,preparation ,,of ,,wood ,,as ,a ,,foundation ,,for ,,paintings ,mahogany wood1 since the ,twelfth ,century1 has been a great favorite with painters1 but an ,oak panel is just as good4 ,it is absolutely necessary1 however1 to reinforce the reverse side of a wood panel1 either by means of a cradle or by means of cleats4 ,cleats are very dangerous4 ,pictures split and buckle alongside of cleats1 and when such buckling takes place1 the picture ought to be taken off and cradled4 ,if the wood panel is sufficiently heavy1 these cleats may be screwed on1 but at all events they should be glued on with a proper glue1 such as can be purchased in the ,united ,states under the name of ,le,page's ,glue1 or ,russia ,cement2 but1 in any event1 it is quite important1 in addition to gluing these strips1 to fasten them by means of fine wire nails which may go through to the outer surface1 and then be cut off and sandpapered to a smooth finish4 ,a very good preparation of a wood foundation is to fill the wood first with what is known as wood filler4 ,this is a material called ,silex1 or ,silica1 mixed in a quick drying varnish4 ,it is thinned down with ,spirits of ,turpentine1 applied across the grain of the wood panel1 and after ten or fifteen minutes it is rubbed off lightly1 the fine grain of the wood becomes filled up with this ,silica or wood filler2 and1 after twenty-four or forty-eight hours1 the surface is then rubbed with very fine sandpaper1 which makes it perfectly smooth4 ,then a thin application of ,shellac ,varnish is applied2 and ,shellac ,varnish for this purpose is manufactured by taking two pounds of any ,orange ,shellac to three-quarters of a gallon of ,denatured ,alcohol4 ,this should not be mixed in a metal container1 but should be mixed in a stone jar or glass bottle4 ,in a few hours it will have dissolved1 if shaken occasionally4 ,a coat of this is applied to the wood after the fill has become thoroughly dry4 ,three hours afterwards it should again be lightly sandpapered4 ,after this another coat of ,shellac ,varnish is applied1 both to the front and the back of the wood panel4 ,three hours after that1 it can again be lightly sandpapered1 and then it is ready for painting4 ,the sandpaper is essential because it roughens the surface and forms a bond between the pigment and the wood4 ,if you paint on a highly polished surface1 whether it be glass1 metal1 wood or canvas1 there is very little bond between two glossy coats1 and the chances of peeling are very great2 but1 if you roughen the surface upon which you are going to paint1 there is a contact between the paint and the surface1 due to the roughness just mentioned4 ,shellac used in priming wood is essential1 in order to prevent the resinous matter from evaporating into the painting4 ,but1 if a painting should crack1 which has been based on ,shellac1 and a restorer applied alcohol1 it is quite obvious that the painting would become badly damaged4 ,,painting ,,on ,,metal ,any metal which has rigidity1 such as ,copper1 ,zinc and ,aluminum1 is good to paint on and is absolutely permanent4 ,aluminum is the lightest of all the metals and not very expensive4 ,it is readily purchased in any size up to #cj x #cf and in any reasonable thickness4 ,the bodies of nearly all good automobiles are made of ,aluminum1 and when the surface is properly prepared1 it holds the paint perfectly and permanently4 ,it can be bought with a so-called egg-shell finish1 but it is always advisable1 before painting1 to rub it very thoroughly with coarse sandpaper or emery cloth4 ,this produces very fine ridges1 which hold the paint1 and that is the only preparation that ,aluminum needs for permanent painting4 ,copper1 ,brass1 ,tin-,plate and ,zinc must all be prepared in the same manner by rubbing them very thoroughly with coarse sandpaper or emery cloth1 and no further preparation is necessary4 ,,oils ,,and ,,mediums ,there are on sale a very large number of ,mediums for use in oil painting1 some of which are essential1 but most of which are unnecessary2 and1 for certain purposes1 unreliable4 ,the materials generally on sale--and this is not a complete list--are3 ,poppy ,oil4 ,linseed ,oil4 ,walnut ,oil4 ,nut ,oil4 ,pale ,drying ,oil4 ,dark ,drying ,oil4 ,spirits of ,turpentine4 ,petroleum ,naphtha4 ,amber ,varnish4 ,copal ,varnish4 ,japan ,oil ,size4 ,mastic ,varnish4 ,megilp ,varnish4 ,damar ,varnish4 and other materials1 the compositions of many of which are kept a secret and are sold under proprietary names4 ,as a matter of fact1 the painter can get along perfectly1 and will have permanent results1 if he sticks to ,raw ,linseed ,oil1 ,turpentine and one ,varnish1 either ,mastic or ,damar4 ,i do not mean to say that a ,medium like ,copal ,varnish mixed with certain colors is not a good ,medium1 for such a material will produce enamel paints which will have a permanent gloss1 but when you come to consider that the ,old ,masters had only from seven to ten pigments ground in a drying oil like ,linseed ,oil1 and that most of their paintings are to-day a complete example of permanence1 there should be no reason why the mind of the painter should be clouded with a multiplicity of materials and why many materials should be used which may in time prove detrimental4 ,without going into any scientific dissertation on the subject1 if you take a strong drier and mix it with many pigments like ,umber1 ,zinc and the ,siennas1 you will have1 apparently1 a perfectly dry picture in twelve hours1 but you must bear in mind that the drying process1 once started with these powerful driers1 goes on sometimes for years1 until finally the paint disintegrates1 because too much drier has been used4 ,it is1 of course1 oftentimes essential to use plenty of drier1 or to use ,copal ,varnish as a ,medium1 in order to finish the work so that it can be handled with safety for illustrative uses1 but where a painter has a commission to paint a portrait1 it its far wiser to use the simple palette and to reduce only with ,turpentine and ,raw ,linseed ,oil and let the sun and air dry his picture slowly1 normally and naturally4 ,,varnishes ,no picture should be varnished before it is at least six months old1 for ,i have already stated that the process of drying with ,linseed ,oil ,colors is progressive1 and keeps on for years1 and if a picture be varnished too soon1 cracks are bound to result4 ,only those types of varnishes should be used which can be readily removed and the three types that can be readily removed are ,sandarac1 ,mastic and ,damar4 ,sandarac is a varnish which dissolves in ,alcohol and dries perfectly within three hours4 ,mastic is a pale gum which dissolves only in ,turpentine and dries hard and dust-free overnight4 ,damar is similar in its characteristics to ,mastic1 but not quite as hard4 ,pictures with a heavy impasto1 and particularly those in which the slow drying pigments are used1 should not be varnished inside of a year--or1 preferably1 in two or three years4 ,all ,linseed ,oil and ,poppy ,oil paints dry from the surface down and wrinkle like a desiccated apple4 ,if a curved needle is inserted into these wrinkles1 it is very often found that the interior is still liquid or semi-liquid4 ,i have found globules of graphite and lamp black mixed with ,linseed ,oil1 to remain soft after many years4 ,when a picture becomes thoroughly hard and it has dried completely1 the film becomes as tough as a sheet of glue1 and it cannot be punctured4 ,it is then called 8needle-proof40 ,a clot of ,raw ,sienna in a picture by ,josef ,israels ten years old was not yet 8needle-proof40 ,it would therefore appear that the best time to varnish a picture is after it has hardened up uniformly and completely1 even though this takes a year or two4 ,mastic is very largely used1 but has the one great defect that you never know whether it is going to dry with a gloss or whether it is going to dry flat1 and sometimes a picture varnished with ,mastic will be partially glossy and partly matte4 ,to overcome this1 a small amount1 not exceeding #aj1 of ,lavender ,oil or ,linseed ,oil may be added4 ,on a bright1 clear day1 ,damar ,varnish usually dries with a gloss1 but on a damp day1 when the picture is moist1 ,damar will also dry flat4 ,sandarac ,varnish may be very easily removed with ,alcohol1 and both ,damar and ,mastic may be easily removed with ,turpentine or a mixture of ,turpentine and ,benzine 7,petroleum ,naphtha74 ,for the restoration and renovation of paintings1 it will at once be seen that a varnish that can be easily removed is by far preferable to the ,copal ,oil ,varnishes1 and ,amber ,varnishes which dry with a hard1 tough insoluble film1 and it is at times impossible to remove these2 and1 where strong solvents or much attrition is used1 it sometimes happens that the surface glazing or delicate tints are removed at the same time4 ,the pigments that are only permanent when used alone and remain permanent after having been varnished1 are3 ,flake ,white4 ,chrome ,green4#ae ,chrome ,yellow4 ,prussian ,blue4 ,emerald ,green4 ,naples ,yellow4 ,chrome ,red4 ,verdigris4 ,harrison ,red4#af ,it is pertinent to say a word about ,flake ,white1 because practically all of the ,whites used by the ,flemish1 ,dutch1 ,italian and ,english ,masters was ,flake ,white1 and there is no white pigment that is equal to it in what is known as hiding power4 ,two coats of ,flake ,white thinly applied are equal to four coats of ,zinc ,white in hiding power1 so it is quite appropriate that where a painter wants a permanent ,white1 which shall have a solid body and hiding power1 there is absolutely no objection to using ,flake ,white1 provided it be coated over with ,zinc ,white after it is perfectly dry4 ,or1 if ,flake ,white can be kept free from noxious gases1 after it is applied1 and then cleaned off with pure ,spirits of ,turpentine and varnished1 with either ,mastic or ,damar1 it is even permanent against noxious gases1 because these varnishes prevent gases from attacking ,flake ,white4 ,the same may be said of ,chrome ,green1 ,prussian ,blue and ,chrome ,yellow1 which are all likely to be affected by sulphur gases1 and should these turn ,yellow or ,brown1 they can be cleaned and restored to their pristine condition1 if washed with a weak solution of soap and water and afterwards lightly rubbed with ordinary ,peroxide of ,hydrogen4 ,the effect of the use of ,peroxide of ,hydrogen and soap water is to oxidize the color which has been affected by sulphur gases4 ,i am not giving any special formula for this work1 because each case must be separately treated1 and the painter must work out the case for himself4 ,the ,chrome ,yellows and ,chrome ,greens are exceedingly permanent to light when used alone and properly varnished4 ,prussian ,blue has so many beautiful characteristics as a pigment and is so permanent to light that if used alone1 or even when used with ,zinc ,white to produce a sky blue1 it has considerable merit4 ,gainsborough was probably the first great painter to use ,prussian ,blue1 and ,i have seen some of his paintings in which the drapery and dresses were a beautiful green1 which was due to the yellowing of the varnish1 which1 when mingled with the ,blue1 produced ,green2 and ,i have also seen the varnish removed and then the ,blue came back with all its original intensity4 ,,beeswax ,,and ,,other ,,waxes ,wax of any kind1 as a painting medium1 should not be used under any circumstances4 ,in order to produce ,matte effects1 there are on sale reliable varnishes which dry perfectly flat and which contain no wax of any kind1 but which are made of ,copal1 ,damar or ,mastic1 and to which about ten per cent4 of a material known as ,palmitate of ,aluminum1 or ,stearate of ,aluminum1 has been added4 ,these two materials are known as flatting materials and do not remelt after they are dissolved in ,varnish4 ,i recall a very excellent ,dutch painting in which beeswax had been used as a ,medium and which was brought over to ,america and placed in the house of a collector4 ,the following ,summer was one of the hottest ,summers which ,new ,york had ever experienced1 and on re-opening the house in the ,fall1 the eyes in the portrait of this picture had melted and run down over the cheeks4 ,one often hears the remark that the ,egyptian portraits painted in the ,first and ,second ,centuries and done with wax are still as perfect as the day they were painted4 ,i have examined some of these paintings and find that they were not done with wax at all1 but done with a hard resin of a high melting point4 ,so every painter who wants to paint permanent pictures should stick strictly to simple vehicles and pigments and not have anything to do with wax whatever4 ,,summary ,a few simple rules1 together with the simple ,palette would insure paintings that are absolutely permanent4 ,haste in finishing a picture often produces bad results4 ,it is said of the great ,french artist ,henner that he often had as many as forty or fifty pictures in his studio in the process of painting4 ,he would lay in the foundation and then place the picture face to the wall to dry4 ,it was weeks before he got back to the first picture again1 when he would start outlining the figures4 ,it was weeks again before he came back to the beginning and finished his pictures--in the meantime1 of course1 each succeeding coat having had time to dry through and through4 ,and this1 more than anything else1 is the principal reason why his paintings are in such perfect condition to-day4 ,i cite him as a man who had the instinct to paint with simple colors2 and1 although he was a prolific user of ,madder ,lake1 he always used it as a glaze over the ordinary ground4 ,most of his smaller pictures were painted on ,academy-,board or ,composition-,board1 and ,i have no doubt that his pictures will retain their pristine condition for centuries4 ,on the other hand1 we have such a great painter as ,josef ,israels1 who paid little or no attention to the materials which he used1 with the result that many of his pictures are badly cracked and have darkened considerably in the shadows4 ,once a painter is familiar with the colors which are permanent1 he or she can proceed unconsciously without any technical interference and produce results which will stay4 ,there is a decided inclination at the present time towards impasto painting1 in which colors are piled up to the thickness sometimes of a centimeter1 and a plastic effect is sought by this means4 ,this is a dangerous proceeding1 excepting in the hands of one who has a distinct knowledge of how colors dry4 ,lamp ,black and ,graphite1 for instance1 will take many years to dry thoroughly hard4 ,zinc ,white1 ,raw ,umber1 ,burnt ,umber1 ,sienna1 ,indian ,red and ,red ,lead or ,orange ,mineral will dry hard and brittle1 with the ultimate danger of falling off the canvass4 ,then again1 the pigments ,i have just mentioned1 like ,lamp ,black1 and which take years to harden1 will crack any hard drying pigment which is placed over them1 because in drying1 the slow drying colors wrinkle and contract1 and a hard drying color placed over them1 not having sufficient elasticity will be torn asunder1 and a small crack1 which may widen into a fissure1 will take place4 ,the whole idea of permanent painting1 then1 simmers itself down to one of sense and judgment4 ,no one has ever seen a ,water ,color painting which is cracked4 ,this is due entirely to the fact that the pigment is so thin that it cannot crack4 ,linseed ,oil1 when exposed to the air for several years1 changes into what is known as fat oil4 ,this is a thick1 ropey1 pale material of the consistency of honey1 and when used too freely dries with a film similar to that of a withered apple4 ,placed in a warm place1 instead of baking1 it shrivels up and wrinkles4 ,blakelock and ,ryder poured thick coats of varnish over their pictures when the paint was insufficiently dry1 with the result that many of their paintings to-day show cracks and fissures1 due to this practice4 ,blakelock used a very heavy-bodied ,linseed ,oil1 which was so viscous that it flowed down in many places and formed 8curtains10 and teardrops4 ,blakelock painted with fat oil1 and many of his pictures show this wrinkling effect1 and as no varnish is added to fat oil1 the chances are it will remain absolutely permanent1 if used thinly or sparingly4 ,,madder ,,lake ,,and ,,harrison ,,red ,both of these colors are aniline colors and therefore artificial4 ,there is some ,madder ,lake on the market which is made from the ,madder ,root but it does not differ from the artificial in the slightest degree and both the natural and the artificial are absolutely permanent under normal conditions4 ,the artificial is sometimes sold under the name alizarine4 ,madder ,lake is transparent when used as a glaze and it can be mixed with a number of pigments with which it does not interact1 but it must not be mixed with the iron pigments that contain water1 and these are principally all the ,ochres and ,siennas1 but as a glaze it may go over any color without being decomposed4 ,it has a record for permanency of several hundred years and is at least of essential importance in portrait painting4 ,harrison ,red is rather a complex aniline color1 exceedingly brilliant1 but it has some defects which the painter should know4 ,in the first place it bleeds very slightly1 that is to say1 if ,zinc ,white or ,flake ,white is painted over pure ,harrison ,red1 the ,zinc or ,flake will turn a pinkish brown1 which is due to the fact that the linseed oil1 or other drying oil will absorb part of the dye out of ,harrison ,red4 ,the painter1 therefore1 in using ,harrison ,red must be careful of this defect4 ,harrison ,red must not be mixed with an iron color like ,ochre1 ,sienna1 or ,raw ,umber1 otherwise its brilliancy is slightly marred4 ,it is similar in many respects to ,deep ,vermilion1 excepting that it is many times stronger than ,vermilion4 ,it can be reduced with ,permanent ,white 7,blanc ,fixe7 without materially lessening its brilliancy4 ,,lakes ,,to ,,be ,,avoided ,it seems a great pity that colors like ,carmine1 ,scarlet ,lake1 ,geranium ,lake1 and dozens of other brilliant lakes of that type1 should be sold to painters4 ,the three that ,i have mentioned will disappear when exposed to the summer sunlight for three or four months1 and the painter who says he cannot get along without ,carmine is simply painting for the present and losing sight of the future4 ,in closing this chapter ,i must express the thought that the time is not far off when every tube color will be labelled as to its composition and as to its permanency for without such a guide1 the painter is liable to make serious failures4 ,,painting ,,the ,,next ,,day ,many painters find that in taking up partly painted canvases and attempting to continue their work1 that fresh paint does not adhere to the paint recently applied4 ,this defect is well recognized among house painters and piano and cabinet varnishers1 and therefore it becomes necessary to roughen the surface1 so that the new coat of paint will adhere4 ,there are some mediums on the market for this purpose1 but with a little care no medium is needed other than pure water2 and ,i have heard the statement that by rubbing the surface of a painting with a stiff brush that has been dipped in water and allowing that surface to dry thoroughly1 new paint will take over the old as if by magic4 ,there is no magic in it whatever4 ,all that happens is that there is so much dust and foreign matter in the air that it settles on every surface to a considerable extent within twenty-four hours4 ,when this is mixed with water1 the dust acts as an abrasive1 and consequently the surface is scarified minutely and the pigment takes hold4 ,the only care necessary to exercise is that when using plain water on any painting sufficient time must be given so that it dries out thoroughly1 before new paint is applied4 ,,true ,,naples ,,yellow ,many ,artists feel that they get results with ,true ,naples ,yellow that they cannot get with anything else4 ,there are a variety of shades of ,naples ,yellow on the market1 running from a pale straw color to rather a deep ,ochre2 but1 the ,true ,naples ,yellow1 such as ,rembrandt used on the cloak in the painting of ,homer1 now hanging in the ,mauritzhuis1 has all the freshness to-day that it evidently had when it was painted4 ,the dark outlines of this cloak are painted with ,ochre1 which1 of course1 is a permanent color4 ,i could cite many examples of prominent painters who felt that ,naples ,yellow was essential to their palette4 ,there is a picture in the ,frick ,collection by ,turner--a view of the harbor of ,dieppe2 a full sun is standing high in the skies4 ,the upper half of the sun painted with light ,naples ,yellow has been smoothed out with a steel knife1 and this particular part is ,gray1 whereas the lower half is a light yellowish ,white1 where it evidently had not been touched by the knife4 ,naples ,yellow imitation1 which is made by mixing ,litharge1 pale ,cadmium and ,white1 also shows a black or very dark streak when touched with a steel knife4 ,it is1 therefore1 best to avoid any steel coming in contact with this pigment4 ,by itself1 genuine ,naples ,yellow is exceedingly permanent to light1 and when used alone and varnished1 is not affected by gases of any kind4 ,as evidence of this1 it is practically unchanged in all old paintings1 with the exception of1 perhaps1 the ,seventeenth ,century pictures1 and older productions show a slight deepening1 which may have been caused by the action of gases where the pigment was unprotected4 ,in ,constable's pictures of his later periods1 he evidently used ,naples ,yellow unmixed1 and apparently put it on with the aid of a knife4 ,these pictures of ,constable's only show a very slight deepening4 ,,new ,,whites ,within the past year ,white ,pigments have made their appearance upon the market which bid fair to replace both ,zinc and ,lead ,whites4 ,all these new whites1 which appear to be precipitated mixtures of ,permanent ,white 7,blanc ,fixe7 and ,titanium1#ag have nearly double the hiding power of ,flake ,white1 but what is of greater importance is that they are not affected by any ordinary chemicals and gases and are light-proof and sulphur-proof4 ,from the experiments made by the author it would appear that a ,white of this nature is absolutely safe to use1 can be mixed with any other pigment without interaction1 and while it dries slowly it does not dry with the brittleness of ,zinc although when ,zinc ,white is mixed with a heavy bodied ,linseed ,oil it does not become brittle4 ,another new ,white is ,lithopone1 which is a ,zinc ,barium compound that was discovered about twenty-five years ago4 ,when this white was first exploited prophecies were made that it would soon replace ,flake ,white1 ,white ,lead1 and ,zinc ,white1 and that it was the most remarkable ,white that could possibly be made4 ,as a matter of fact it has never replaced anything because it has a pernicious habit of turning dark in the bright sunlight and turning white again in the dark1 but within the last few years light-proof ,lithopone has been manufactured and its principal use is for foundation whites and for interior flat wall decoration4 ,it is a pigment that should never be used for landscape or portrait painting but may very safely be used for ground work4 ,,amber ,,varnish ,many painters believe that1 owing to the fact that ,amber is the hardest resin there is1 the varnish made from it should retain its gloss the longest1 and be just as free from cracking and bloom as the natural resin itself4 ,an examination of several of the amber varnishes on the market reveals the fact that there probably is no such varnish made4 ,although ,amber can be fused and melted1 it takes such a high heat that even the lightest gum ,amber becomes exceedingly dark and then it must be diluted with so much oil that there is very little gum ,amber in the varnish itself4 ,most of the ,amber ,varnishes on the market are ,copal ,varnishes that contain little or no ,amber at all4 ,it is very wise for the painter to keep away from materials of this type2 and1 if a hard drying varnish is desired1 any good ,copal ,varnish will answer the purpose1 although for varnishing pictures1 it must be continually borne in mind that a simple varnish like ,damar1 ,mastic or ,sandarac should be used2 for only those simple varnishes can be easily removed without destroying the painting itself4 ,,bloom ,it is not the intention of the author to go into any dissertation of the cause of bloom2 for every varnish blooms more or less4 ,in fact1 all polished surfaces1 whether they are varnished or not1 show condensation1 and surface deposits which are the equivalent of bloom4 ,take for example1 a mirror in your home2 or a window glass2 or a varnished piece of furniture4 ,unless these are continually wiped clean they will show a surface deposit1 which is one type of bloom4 ,in paintings1 bloom is the result of a variety of causes4 ,sometimes it is due to moisture which deposits4 ,at other times it is due to the action of sulphur gases on the chemical compounds in varnish2 and one of the most general causes is a surface deposit to which dust and foreign matter adheres4 ,some varnishes1 like ,mastic1 bloom notoriously2 and1 if ,mastic is to be used1 it always should be mixed with ten per cent4 of ,spike ,oil and five per cent4 of heavy-bodied ,linseed ,oil4 ,this1 in a large measure1 prevents the flatting and blooming of ,mastic ,varnish4 ,damar ,varnish1 at times1 shows the same defect1 but not to such a great extent as ,mastic1 and ,sandarac1 the latter being an alcohol soluble varnish1 which shows it least of all1 has the defect of cracking very readily1 particularly a year after it is applied4 ,bloom can be removed in many ways3 ,first1 by gently rubbing with a silk handkerchief1 which removes the surface deposit and polishes the underlying film of varnish2 second1 by taking heavy bodied ,linseed ,oil1 diluting with half ,turpentine1 and applying that with gentle rubbing1 which at once polishes the surface and removes superficial adherent bodies2 third1 by the use of any good1 thin machine oil1 such as is sold in this country under the name of 8#c ,in #a40 ,a few drops of this may be applied on a linen handkerchief and gently rubbed1 but then it must be wiped completely clean1 because it is a non-drying oil1 and dust and dirt stick to it with greater ease than they do to a drying oil4 ,bloom also occurs in damp atmospheres1 even on a painting which is not varnished4 ,this is due to a certain physical--chemical cause1 in which even dried ,linseed ,oil will absorb a certain amount of moisture4 ,to overcome this1 the painting should be placed in the warm sun1 wiped clean1 and then revarnished with a very thin varnish of either ,mastic or ,damar4 ,,repainting ,many painters and restorers are uncertain as to what materials to use for retouching and repainting4 ,some use ,tempera colors2 and1 after they are dry1 they varnish the entire picture1 and the results are usually very good4 ,with this exception1 the ,tempera colors do not change1 whereas the surrounding oil painting yellows and darkens in undue proportion to the new color applied4 ,the best method to pursue is to use dry pigments1 which should be rubbed1 or mulled on a glass plate with a muller1 and mixed with dilute ,damar ,varnish4 ,the chances are that a mixture of this type will dry in fifteen or twenty minutes1 and the color can be matched up with the surrounding painting very exactly4 ,in filling up cracks1 flakes and holes in paintings1 this method is really the best1 because it insures matching1 quick drying and very little decomposition4 ,,restoration ,,and ,,cleaning ,,of ,,paintings ,the greatest possible care in the selection of a cleansing material must be exercised1 and it is always wise to take the painting out of the frame and try the effects of various mediums in one corner1 in order to determine whether it is safe to clean the painting or not4 ,the first requisite is to wipe off the painting with a rag that has been soaked in boiling water and then wrung out1 in order to remove superficial adherent dust and dirt4 ,if the painting is cracked1 it is necessary to be exceedingly careful not to let any moisture get through the cracks1 for it might soften up the glue underneath1 in which case1 large flakes may possibly curl from the canvas4 ,after having cleansed the surface with water or1 if necessary1 with any good neutral soap water1 such as ,ivory ,soap1 ,fairy ,soap2 or1 better still1 any shaving soap1 an experiment should be made in a corner of the painting1 to see if it has been executed with a drying oil1 like ,linseed ,oil1 or ,poppy ,oil4 ,the great danger in the cleaning of paintings lies in the fact that if a painter has used varnish as a medium mixed with his tube colors1 nearly all solvents will attack such a painting1 and the greatest trouble will result1 because the paint itself will come off the surface4 ,so1 after having established--let us say1 for instance--that the painting is a ,linseed ,oil painting1 the following methods are perfectly safe3 ,mixtures of equal parts of ,no4 #a ,denatured ,alcohol1 ,turpentine and ,water1 thoroughly shaken up1 may now be applied with a very stiff bristle brush4 ,this will remove the varnish without disturbing the film underneath4 ,another good method to use is to take a soft tooth brush1 dip it in ,turpentine and gently rub the surface2 and1 if the varnish is of the single solvent type1 like ,mastic or ,damar1 it will come off perfectly clean without dissolving the ,linoxin 7dry ,linseed ,oil film74 ,the latest method is the use of ,isopropyl alcohol1 known commercially as ,petrohol1 which will dissolve most of the varnishes without dissolving the dry ,linseed ,oil film4 ,isopropyl alcohol can be diluted with ,turpentine1 ,benzine or ,kerosene1 and when so diluted1 can be copiously used4 ,the other method to be recommended is the use of a material called ,cumene1 or ,cumol1 which has the great advantage of dissolving varnishes without dissolving the ,linoxin1 provided1 of course1 it is used with a little common sense4 ,it must be understood that the surface of the painting is a very delicate film1 and in the restoration of a painting all that is necessary is to dissolve the superficial layer of old yellowed varnish and adherent dirt1 and nothing else4 ,the author has made a series of modifications of ,cumene1 such as one third ,cumene1 one third ,kerosene and one third ,denatured ,alcohol1 which has the advantage of slowing down the action to such an extent that in case there is the slightest indication of decomposition of the painting itself1 the solvent can be wiped off with a dry cloth or a cloth soaked in ,kerosene1 and the dissolving action will be stopped immediately4 ,the foregoing description is just the introduction to the various methods employed1 and is not intended for novices or those unskilled in the art4 ,at all events1 great care must be exercised4 ,the author superintended the cleansing and restoration of fifteen paintings1 some of them very large in size1 which had not been cleaned or restored in many years1 and some of these were in shockingly bad condition4 ,the ,isopropyl ,alcohol and ,turpentine methods were employed without the slightest defect1 and the varnish in every case came off perfectly clean1 and when the pictures were revarnished1 they were restored to their pristine condition4 ,if it is desirable to give the picture a patine of age after it has been renovated1 it is not a very difficult thing to do1 if a slight tinge of a permanent ,brown or ,yellow ,lake is added to the varnish2 but1 under no circumstances1 must any bituminous or asphaltic compound be used for this purpose4 ,,framing ,our tastes change with our culture4 ,after the ,civil ,war1 when the first large crop of millionaires was made1 all ornamentation1 whether in picture frames1 furniture or wall decorations1 assumed a garish and bizarre effect4 ,gold and brilliant colors were used liberally1 and to this day1 many pictures are so badly framed that the effect of the picture itself is lost4 ,many painters have only one exhibition frame1 in which they show their paintings to prospective buyers and others1 and some painters will not sell a painting without a frame1 believing that they know best the kind of a frame best suited for the painting4 ,we are rapidly changing our views on this subject1 fortunately1 and we are going back to what the ,dutch and ,flemish did three centuries ago1 of having dark frames with a little gold or silver insert4 ,it must be obvious to everyone that a somber painting in a six or eight inch glaringly brilliant yellow gold frame1 destroys the value of the painting1 for the eye1 at all times1 lights on the brilliant frame first4 ,the best example of this is the method in which etchings are framed4 ,you seldom see an etching in anything but a half or three quarter inch flat1 dark frame4 ,if an etching were placed in a three inch gold frame1 both would be out of place4 ,frames should always be subordinated to the painting4 ,a blue and white seascape should be framed in a bluish gray frame1 which may have a dark bronze moulding on the outer and inner edge4 ,if painters want only one frame to show their work1 let that one frame be of somber hue2 otherwise it will detract from the painting4 ,proper framing is really a scientific study4 ,if the general tone of a picture be yellow1 like a golden sunset1 the complementary color would be a bluish green1 and therefore a bluish green1 with some gray in it1 offset by a narrow metal colored moulding1 would be the proper frame for a painting of that kind4 ,nothing is so hideous as brilliant gold on all the paintings in a room1 and many a museum is spoiled through the glossy1 inharmonious effects of the conglomerate masses of frames1 which detract from the color value of a painting4 ,a little care and study on this subject will frequently enhance the work in question4 ,books for the ,craftsman ,we can always supply any book on the ,manual ,arts--whether it is issued by us or by any other publisher4 ,our stock of these books is complete and our facilities for filling your orders promptly and carefully are unsurpassed4 ,send your inquiries to us4 ,a request will bring our various catalogs4 ,d4 ,,van ,,nostrand ,,co4 #h ,warren ,street ,,new ,,york ,,city ,,footnotes3 #a ,materials for ,permanent ,painting1 by ,maximilian ,toch1 published by ,d4 ,van ,nostrand ,company 7#aiaa71 ,new ,york4 #b ,madder ,lake and ,alizarin ,lake are the same1 excepting in name4 #c ,zinnober is ,german for ,vermilion4 #d ,chemistry and ,technology of ,paints1 ,maximilian ,toch4 ,d4 ,van ,nostrand ,company 7#aiaf72 pp4 #bed-bei4 #e ,constant ,white is also sold under the name of ,permanent ,white1 or ,blanc ,fixe4 ,it has very little hiding power when wet1 but dries out perfectly opaque4 ,it also possesses very little staining power1 by which is meant that a very small quantity of some other tint will change its character much more readily than it will ,zinc ,white4 #f ,permanent ,white4 #g ,lapis ,lazuli4 #h ,lapis ,lazuli4 #i ,the ,chrome ,green of ,commerce is a mixture of ,prussian ,blue and ,chrome ,yellow4 #aj ,paris ,green4 #aa ,barium ,yellow4 #ab ,zinc ,yellow4 #ac ,strontium ,yellow4 #ad ,materials for ,permanent ,painting 7,toch7 pp4 #dh-eb4 #ae ,chrome ,green must not be confounded with the ,chromium ,greens1 but is a mixture of ,chrome ,yellow and ,prussian ,blue4 #af ,harrison ,red is a coal tar color similar in shade to ,english ,vermilion1 but ten times stronger1 and is best used as a glaze1 or as a solid pigment by itself4 #ag ,sold under the name of ,permalba1 ,toxitan1 etc4 ,transcriber's ,notes ,obvious typographical errors have been silently corrected4 ,variations in hyphenation and accents have been standardised but all other spelling and punctuation remains unchanged4 ,italics are represented thus italic4