The Materials and Techniques of Medieval PaintingCourier Corporation, 1 ene 1956 - 239 páginas Sums up 20th-century knowledge; paints, binders, metals, surface preparation. Based on mss. and scientific investigation. |
Índice
CARRIERS AND GROUNDS | 23 |
The importance of book painting | 24 |
Vellum | 27 |
Qualities of parchment | 28 |
Preparations | 29 |
Wooden surfaces | 30 |
The functions of gesso | 31 |
The use of gesso | 32 |
Effects of age | 126 |
Neutrals | 127 |
Azurite | 128 |
Preparation of azurite | 129 |
Characteristics of azurite blues | 130 |
Indigo | 133 |
Wood indigo | 134 |
Manufacture | 136 |
The construction of a polyptych | 32 |
Variations of method | 33 |
Other grounds | 34 |
Canvas | 35 |
Walls and plasters | 36 |
Structural woodwork | 39 |
BINDING MEDIA | 40 |
Functions of vehicles | 41 |
Viscosity effects | 42 |
Effects of transparency | 43 |
Quantity relations | 44 |
Optics and art history | 45 |
Abuses of wax | 47 |
Media for illumination Glair | 48 |
Craftsmanship and aesthetic | 50 |
Craftsmanship and conscience | 51 |
Craftsmanship and industry | 52 |
Preservation of glair | 53 |
Gum arabic | 55 |
Cum tragacanth | 56 |
Adjuncts to glair | 57 |
Media for panel painting Egg tempera | 60 |
Size | 62 |
Oil glazes | 63 |
Oils and varnishes | 65 |
Media for wall paintingLime | 66 |
Origin of true fresco | 67 |
Palimpsests | 68 |
Secco painting | 69 |
Media for structural wood painting | 71 |
PIGMENTS | 72 |
Elements | 73 |
Vegetable Extracts | 76 |
BLACK COLOURS | 78 |
Inks | 79 |
Lampblack | 81 |
Vinecharcoal black | 83 |
Other carbon blacks | 85 |
Graphite | 86 |
WHITE PIGMENTS | 87 |
Manufacture of white lead | 88 |
Modern and medieval white leads | 90 |
Qualities of white lead | 92 |
Other inert whites | 93 |
Lime whites | 94 |
RED COLOURS | 95 |
Sinopia | 96 |
The range of ochres | 97 |
Minium orange lead | 98 |
Minium cinnabar | 100 |
Vermilion | 101 |
Early experimental chemistry | 103 |
Influence of vermilion | 104 |
A defect of vermilion | 105 |
Tempering | 106 |
Lac lake | 107 |
Hedera and lacca | 108 |
Grain | 109 |
Confusion of nomenclature | 110 |
Confusion of materials Kermes | 111 |
Grain lakes | 113 |
Brazil wood | 114 |
Brazil lakes | 115 |
Opaque | 116 |
Brazil extracts | 118 |
Madder | 119 |
Dragonsblood | 122 |
Folium | 124 |
BLUE COLOURS | 125 |
Compound indigo pigments | 137 |
Other vegetable blues | 138 |
Turnsole | 139 |
Manufacture | 141 |
Ultramarine azure | 143 |
Manufacture | 144 |
Intrinsic value | 146 |
Distribution | 148 |
Artificial copper blues | 149 |
Blue bice | 150 |
Copperlimeammonia compounds | 151 |
The silverblue mystery | 152 |
The azurevermilion tangle | 153 |
The whelk reds | 154 |
Folium and archil | 156 |
Mixed purples | 157 |
GREEN COLOURS | 158 |
The green earths | 160 |
Verdigris | 161 |
Effects of age | 163 |
Verdigris in books | 165 |
Salt green and Rouen green | 166 |
Incompatibilities | 167 |
Iris green | 169 |
Other colours from iris | 170 |
Mixed greens | 171 |
YELLOW COLOURS | 172 |
Medieval use of yellow | 173 |
Orpiment | 174 |
Realgar | 175 |
Incompatibilities of orpiment | 176 |
Ciallorino Massicot | 177 |
Substitutes for gold | 178 |
Mosaic gold | 179 |
Other Imitations of gold | 182 |
Preparation and use | 183 |
Other organic yellows | 184 |
Rhamnus yellows Extracts and lakes | 185 |
Fustic and others | 186 |
METALS | 188 |
Gold in powder | 189 |
Fire gilding | 191 |
Amalgams | 192 |
Thickness of medieval gold | 193 |
Reflecting surfaces Burnishing | 194 |
River gold | 196 |
Unburnished pigment gold | 197 |
The beginnings of mordant gilding | 200 |
Composition of a water mordant | 201 |
Burnished water mordant gilding | 203 |
The binders | 204 |
The colouring agents | 205 |
The bulkformers | 206 |
Other ingredients | 207 |
Gilding by attrition | 208 |
The background of craftsmanship | 209 |
The metallic ground | 213 |
Gold the original intent | 214 |
Preparation of surfaces | 216 |
Application of gold leaf | 217 |
Burnishing | 218 |
Separation of gold and colour | 219 |
Tooling the gold | 220 |
Sgraffito | 223 |
Oil mordants | 224 |
A sensitive compound | 226 |
INDEX | 229 |
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Términos y frases comunes
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