Texture And What Is Called Body In Colours; Yet Every Pigment Has Its





peculiarities in respect to working both in water and oil, and these

must become matter of every artist's special experience. Some of the

best pigments are most difficult of management, while some ineligible

colours are rich in body and free in working. Accidental circumstances,

however, may influence all pigments in these respects, according to the

painter's particular mode of operation, and his vehicle; upon the

affinities of colours with which depend their general faculties of

working--such as keeping their place, crispness or setting up, and

drying well. These latter, with other properties and accidents of

pigments, will be particularly considered in treating of their

individual characters; but it may be remarked that crispness or setting

up, as well as keeping their place and form in which they are applied,

are contrary to the nature of many pigments, and depend in painting with

them upon a gelatinous mixture of their vehicle. For example, mastic

and other resinous varnishes impart this texture to oils which have been

rendered drying by the acetate, or sugar of lead:--simple water, also

albumen, and animal jelly made of glue and isinglass, give the same

quality to oils and colours; and bees-wax has a similar effect in pure

oils. Whitelac varnish, and other spirit varnishes, rubbed into the

colours on the palette likewise enable them to keep their place very

effectually in most instances. This is important, because glazing cannot

be performed except with a vehicle which keeps its place, or with

pigments which lend this property to the vehicle, as some lakes and

transparent colours do.





Tertiary Olive: Hence Its Relations And Accordances Are More General Than Themselves; And Into Painters Whose Motto Is Vita Brevis Est Ars facebooktwittergoogle_plusredditpinterestlinkedinmail

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