[1] Philosoph. Transact. vol. xlix. part 2.
[2] Though the Abbé does not quote the passage, one may guess it must
be the following the count undertook to explain. _Pliny_ lib. xxxv.
chap. 11.
“Ceris pingere ac picturam inurere quis primus excogitaverit non
constat: quidam Aristidis inventum putant, posteà consummatum à
Praxitele. Sed aliquanto vetustiores Encausticæ Picturæ exstitere, ut
Polignoti & Nicanoris, & Arcesilai Pariorum. Lysippus quoque Æginæ
Picturæ suæ inscripsit, ἐνεκαυσεν, quod profecto non fecisset nisi
encaustica inventa.”
_Which may be told in plain English thus_, “Who first invented to paint
with (or in) wax, and burn in (or fix) the picture with fire, is not
certainly known. Some think Aristides invented it, and that Praxiteles
brought it to perfection; but there were pictures by masters, of a much
older date; such as of Polignote, Nicanor and Arcesilaus, all artists
of Paros.
“Lysippus writ upon his pictures he burnt in, which he would not have
done if the encaustic had not been invented then.”
[3] PLINY is an evidence for this my opinion; for after having said,
lib. xxxv. ch. 4. _Nicias scripsit se inussisse_, he says, _tali enim
usus est verbo_. Which words seem clearly to indite that PLINY thought
it equivocal, or contrary to its proper signification.
[4] Both pictures were disposed of as soon as finished to a Dutch
gentleman, who sent them to Holland as a pattern, and were mightily
approved of.
[5] Any sort of old cloth, if whole, is as good as new; I prefer the
former to the latter for its softness. To ascertain a just proportion
of wax to every sort of cloth is unnecessary, if you should either put
too much or not enough, you may easily remedy it. See ART. iv. One
single trial will clear up the incertitude.
[6] Entire colours are the white, red, yellow, blue, &c.
[7] See the nature of this better explained in the copper-plate at the
end of observations of Art. 2.
[8] I prefer a fire of sea-coals because it is much more uniform, and
does not emit so many sparks as wood or charcoals, which might injure
the picture, though any fire with proper care will answer the end
proposed; a German stove is still better than any fire whatsoever.
[9] You will easily know those places that shall want wax; they will
appear like so many spots of a lighter hue.
[10] Any other spirit such as that commonly burnt in lamps, common
gin, rum, or genuine brandy, will do just as well; spirit or oil of
turpentine is very proper too; but as it smells so very strong, ladies
and gentlemen that paint for their amusement only would not like it.
[11] The same might be practiced upon cloth, it would do better than
only rubbing it with the chalk; but for painting with the pencil the
bare cloth is still better.
[12] I am aware that every body will not enter into this doctrine at
first, and some may think it very odd that a colour which is used in
oil, should not sympathise with wax; the question is easily solved, the
grinding stones unite oil and pinks, and bring them together by force,
but experience shews it is but for a little while; the oil once dry,
pinks soon fly off and fade away.
[13] Fullers-earth, pipe-clay, chalk, &c. ought to be left out, because
they sink so very low when fixed with wax, and impart a great dullness
to all those tints wherein they prevail; pipe-clay and fullers-earth a
dusky transparent gray; chalk, a yellowish-white no-colour.
[14] Old crayon pictures may be fixed very well; the paste becoming
old looses its cohesion; the wax may freely and uniformly penetrate
through; they will want retouching. If any artist has a mind to try, he
may do it with some insignificant subject for fear of miscarrying on a
first trial.
[15] If this treatise should meet with such approbation as to require
a second edition, the recipe for the composing of crayons will be
inserted at full length.
TABLE of CONTENTS.
Introductory account of Encaustic
Painting page 1
Article the first, _preparation of the
cloth for painting in encaustic_ 26
Art. the second, _of the colours, and
their preparation and use_ 29
Art. the third, _how to paint over
or alter any part before the picture
has been near the fire_ 33