Mural Painting | by F. Hamilton Jackson
It must be premised that this handbook does not concern itself with the practice of the ordinary painter and decorator, in the sense in which those words are generally used, but only with those higher forms of decoration for which the assistance of the artist is required; The modes of decorating a wall-surface by means of paint divide themselves roughly into those in which the colour is solely on the surface of the wall and those in which the colour penetrates that surface; though this is perhaps merely a question of the thickness of the skin of colour and the thoroughness with which the colour is attached to the surface.
| Title | Mural Painting |
| Author | F. Hamilton Jackson |
| Publisher | Sands And Company |
| Year | 1904 |
| Copyright | 1904, Sands And Company |
| Amazon | Mural Painting: -1904 |
By F. Hamilton Jackson, Examinar To the Board Of Education In Principles Of Ornament, Vice-President of the Society of Designees.
Some Press Opinions Of "Intarsia And Marquetry". The First Book Of The Series- There is a grandeur of design, beauty of detail, and everywhere sympathy with the material.—Spectator. % By the compilation of this work Mr. F. Hamilton Jackson has laid the student and the craf...
- General Preface To The Series
- If there is one quality which more than another marks the demand of the present day it is the requirement of novelty. In every direction the question which is asked is not Is this fresh thing good? I...
- Preface
- Another mode of division is afforded by the difference of the medium employed to attach the colours, and in which they are ground or with which they are mixed, and both of these modes of classificatio...
- Historical Sketch
- If the paintings in the porch and the corridor of the Minoan palace at Cnossos, of which very interesting • drawings were exhibited at the Winter Exhibition of the Royal Academy of Arts in 1903. are e...
- Historical Sketch. Part 2
- The most ancient Christian paintings are in the catacombs of S. Domitilla (SS. Nereus and Achilleus), on the Yia Ardeatina, and S. Priscilla, on the Via Salara, Rome. Many interesting paintings occur ...
- Historical Sketch. Part 3
- The walls are covered with frescoes, some of which have suffered very much, but the subjects on the nave walls and in the apse are tolerably preserved. The Last Judgement, which occupies the west wall...
- Historical Sketch. Part 4
- At Subiaco, in the Sacro Speco, are some early frescoes, some of which, signed Mag: Conxolus, are more Italian than Greek in type; while others, by Fr. Oddo, not equally good, but with a foretaste ...
- Historical Sketch. Part 5
- At Padua the chapel of S. Felice in S. Antonio was painted by Altichieri da Zevio and Jacopo d'Avanzo in 1376, and the chapel of S. George was decorated by the same artists in the next year. They are ...
- Historical Sketch. Part 6
- The Umbrian school takes its rise in Gubbio, where a celebrated miniature painter named Oderisio, mentioned by Dante, lived at the end of the thirteenth century. Of the Gubbian painters the most celeb...
- Historical Sketch. Part 7
- Leonardo da Vinci's only wall-painting, the Last Supper, is such a wreck, owing partly of its having been painted in oil and partly to subsequent re-paintings, that the influence he exercised over his...
- Historical Sketch. Part 8
- This rapid sketch concerns itself with wall-painting only. Many of the names included are those of painters who also painted many easel or panel pictures, but with these we are not now concerned, and ...
- The Preparation Of The Wall
- Some of the various processes of wall-painting lay more stress upon the preparation of the wall than do others. The most modern methods attach the greatest possible importance to this matter, sometime...
- The Preparation Of The Wall. Continued
- Vitruvius gives the following directions for the preparation of a curved ceiling. Parallel ribs are to be set up not more than two feet apart; cypress is preferable, since fir is soon injured by rot a...
- Fresco Painting
- The permanency of paintings executed a fresco depends upon the action of the carbonic acid in the atmosphere, which converts the lime of the mortar into carbonate of lime. The carbonic acid is drive...
- Fresco Painting. Part 2
- When the plaster has been properly prepared for the painter and has been left for a short time to become sufficiently firm, the outline is traced and he begins to work. The surface should be wet enoug...
- Fresco Painting. Part 3
- Latilla's instructions as to the sequence of processes are interesting as showing how such things were done in his time. In beginning large mural decorations the first step is to paint in all the orn...
- Fresco Painting. Part 4
- The preparation of the cartoon is a matter of great importance, since everything must be settled on it. Cornelius, the great German fresco painter, used to prepare his upon a frame covered with strong...
- Fresco Painting. Part 5
- Fresco secco differs from buon fresco in that it is not painted upon wet plaster. The same colours are used, and it is claimed by some that it is as durable as real fresco, and will bear being washed ...
- Tempera
- The word tempera99 is used for a glutinous medium which binds colours and is soluble in water, such as size, gums, or egg; and in a more restricted sense for a vehicle in which yolk of egg is the pr...
- Tempera. Part 2
- Yolk. White. Water . 51-5 . .. 84-8 Albumen, vitellin, etc. . . 150 . .. 120 ...
- Tempera. Part 3
- At the time that some mural painting of the thirteenth century was discovered in the Sainte Chapelle at Paris an analysis was made of the colours by MM. Dumas and Persoz. The result showed that the wh...
- Tempera. Part 4
- Before beginning to paint, damp the wall till it absorbs no more water; the dampness affords time to unite the colours and give suavity and freshness to the distemper. Begin with the pale tones and wo...
- Keim's Process Foe Wall Painting
- The failure of the frescoes which were executed in Germany (on external walls particularly) at the time of the revival of fresco painting, of which the north and east sides of the new Pinacothek at Mu...
- Keim's Process Foe Wall Painting. Part 2
- * My thanks are due to the Council of the Society of Arts for kindly permitting me to make use of the papers referred to. When it is dry, which will probably take nearly a year, the painting ground...
- Keim's Process Foe Wall Painting. Part 3
- The colours are ground in distilled water and are mixed on a tin palette with little wells on its surface. The wall must be kept wet, while being painted on, by spraying. Every variety of treatment is...
- Encaustic Painting
- Encaustic is a term applied to a mode of painting in which the medium is wax,. which was generally mixed with the colours, the final process being the inustion or Kava-19, the application of heat, ...
- Encaustic Painting. Part 2
- * In the notes to Bonn's edition of Pliny's Natural History many of the ancient colours are identified. Sir Humphry Davy analysed some Roman fragments of coloured plasters and found: White—several ...
- Encaustic Painting. Part 3
- The media used in encaustic are called by several ancient authors by the name of Pharmaca. Suidas says that naphtha was called Pharmacon, which suggested to Emeric-David that we had here an expl...
- Encaustic Painting. Part 4
- The process has attracted a great deal of interest in France, and several painters made exhaustive experiments with various forms of wax mediums and published the results. Of these the most complete w...
- Encaustic Painting. Part 5
- Venice turpentine . . one part. Thin amber . . . two parts. Volatile oil of resin distilled . one part. ]£l&ni resin . . . half a part. Allowed to dry for six or eight days; then the joint...
- Encaustic Painting. Part 6
- Theophilus also mentions several compound colours. Exedra, or exudra, a mixture of red and a little black, to relieve and finish the flesh. Pose, a mixture of green and red with membrina (aki...
- Spieit Fresco. Gambier Fabry's Process
- The process invented by Mr. Gambier Parry, and used by him in his paintings in S. Andrew's chapel, Gloucester cathedral, and in Highnam church, was thought so well of by the late Lord Leighton, after ...
- Oil Processes
- The drawbacks to the use of the oil medium for wall-painting are several. The most evident is the condensation of vapour upon the surface. The more impervious the surface is to damp the more liable it...
- Limitations And Capabilities
- The conventions which should govern wall-painting are founded partly on consideration of the position which the decoration is to occupy, partly on the material in which it is to be executed, and partl...
- Limitations And Capabilities. Part 2
- A writer in the Art Journal at the time when the decoration of the Houses of Parliament was under consideration, who evidently held a brief for fresco as against other modes of wall-painting, expresse...
- Limitations And Capabilities. Part 3
- To return to the mediaeval practice. The materials to be used were frequently specified in the contracts, those of the most expensive kind being specially charged for or provided by the patron as in c...
- Limitations And Capabilities. Part 4
- Professor Koch thus defines the difference between the easel-picture painter and the painter of mural decorations: I call the painter 'decorative' who adorns the architecture on the surfaces of wall ...
- Receipts
- In this volume the receipts for the most part are to be met with in the body of the work under the various processes in which they are to be used, but a few remarks upon the materials which analyses d...
- Receipts. Continued
- 171. A Mordant For Gilding On Walls, Etc Take litharge, verdigris, and a little ochre, and grind them with a little linseed oil and liquid varnish, incorporate them well together, and then gild ...
