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Beskrivning
"Obviously of great merit." — Art Material Trade News. Fifteenth-century handbook, written by a working artist of the day, reveals secrets and techniques of the masters in drawing, oil painting, frescoes, panel painting, gilding, casting, more. Direct link to artists of the Middle Ages. Translation and Introduction by D. V. Thompson. "Delightful flavor..." — N.Y. Herald Tribune.
Produktinformation
- Utgivningsdatum:2000-02-01
- Mått:137 x 202 x 10 mm
- Vikt:195 g
- Format:Häftad
- Språk:Engelska
- Serie:Dover Art Instruction
- Antal sidor:192
- Förlag:Dover Publications Inc.
- ISBN:9780486200545
Utforska kategorier
Innehållsförteckning
- Preface I I The first chapter of the first section of this book II "How some enter the profession through loftiness of spirit, and some, for profit" III Fundamental provisions for anyone who enters this profession IIII How the schedule shows you into how many sections and branches the occupations are divided V How you begin drawing on a little panel; and the system for it VI How to draw on several kinds of panels VII What kind of bone is good for treating the panels VIII "How you should start drawing with a style, and by what light" VIIII "How you should give the system of lighting, light or shade, to your figures, endowing them with a system of relief" X "The method and system for drawing on sheep parchment and on paper, and shading with washes" XI How you may draw with a leaden style XII "How, if you have made a slip in drawing with leaden style, you my erase it, and by what means" XIII How you should practice drawing with a pen XIIII How to learn to cut the quill for drawing XV How you should advance to drawing on tinted paper XVI How the green tint is made on paper for drawing; and the way to temper it XVII "How you should tint kid parchment, and by which method you burnish it" XVIII How you should tint paper turnsole color XVIIII How you should tint paper with an indigo tint XX "How you should tint papers with reddish color, or almost peach color" XXI How you should tint papers with flesh color XXII "How you should tint papers greenish gray, or drab" XXIII How you may obtain the essence of a good figure or drawing with tracing paper XXIIII The first way to learn how to make a clear tracing paper XXV A second way to make tracing paper: with glue XXVI How to make tracing paper out of paper XXVII How you should endeavor to copy and draw after as few masters as possible XXVIII How you should regulate your life in the interests of decorum and the condition of your hand; and in what company; and what method you should first adopt for copying a figure from high up XXX "How you should first start drawing on paper with charcoal, and take the measurement of the figure, and fix it with a silver style" XXXI "How you should draw and shade with washes on tinted paper, and then put lights on with white lead" XXXII How you may put on lights with washes of white lead just as you shade with washes of ink XXXIII How to make good and perfect and slender coals for drawing XXXIIII About a stone which has the character of charcoal for drawing. This ends the first section of this book II XXXV The second section of this book: bringing you to the working up of the colors XXXVI "This shows you the natural colors, and how you should grind black" XXXVII How to make various sorts of black XXXVIII On the character of the red color called sinoper XXXVIIII "How to make the red called cinabrese, for doing flesh on the wall; and about its character" XL On the character of the red called vermilion; and how it should be worked up XLI On the character of a red called red lead XLII On the character of a red called hematite XLIII On the character of a red called dragonsblood XLIIII On the character of a red called lac XLV On the character of a yellow color called ocher XLVI On the character of a yellow color called giallorino XLVII On the character of a yellow called orpiment XLVIII On the character of a yellow called realgar XLVIIII On the character of a yellow called saffron L On the character of a yellow called arzica LI On the character of a green called terre-verte LII On the character of a green called malachite LIII How you make a green with orpiment and indigo LIIII How you make a green with blue and giallorino LV How you make a green with ultramarine blue LVI On the character of a green called verdigris LVII How you make a green with white lead and terre-verte; or lime white LVIII On the character of lime white LVIIII On the character of white lead LX On the character of azurite LXI To make an imitation of azurite with other colors LXII "On the character of ultramarine blue, and how to make it" LXIII The importance of knowing how to make brushes LXIIII How to make minever brushes LXV "How you should make bristle brushes, and in what manner" LXVI How to keep minever tails from getting moth-eaten. This ends the second section of this book; begins the third III LXVII "The method and system for working on a wall, that is, in fresco; and on painting and doing flesh for a youthful face" LXVIII The method for painting an aged face in fresco LXVIIII The method for painting various kinds of beards and hair in fresco LXX The proportions which a perfectly formed man's body should possess LXXI The way to paint a drapery in fresco LXXII The way to paint on a wall in secco; and the temperas for it LXXIII How to make a violet color LXXIIII To execute a violet color in fresco LXXV To try to imitate an ultramarine blue for use in fresco LXXVII To paint a shot green drapery in fresco LXXVIII To paint in fresco a drapery shot with ash gray LXXVIIII To paint one in secco shot with lac LXXX To paint one in fresco or in secco shot with each other LXXXI To paint a greenish-gray costume in fresco or in secco LXXXII "To paint a costume, in fresco and in secco, of a greenish-gray color like the color of wood" LXXXIII "To make a drapery, or a mantle for Our Lady, with azurite or ultramarine blue" LXXXIIII "To make a black drapery for a monk's or friar's robe, in fresco and in secco" LXXXV "On the way to paint a mountain, in fresco or in secco" LXXXVI "The way to paint trees and plants and foliage, in fresco and in secco" LXXXVII "How buildings are to be painted, in fresco and in secco" LXXXVIII The way to copy a mountain from nature. This ends the third section of this book IV LXXXVIIII "How to paint in oil on a wall, on panel, on iron, and where you please" LXXXX How you should start for working in oil on a wall LXXXXI "How you are to make oil, good for a tempera, and also for mordants, by boiling with fire" LXXXXII How good and perfect oil is made by cooking in the sun LXXXXIII "How you should work up the colors with oil, and employ them on the wall" LXXXXIIII "How you should work in oil on iron, on panel, on stone" LXXXXV The way to embellish with gold or with tin on a wall LXXXXVI How you should always make a practice of working with fine gold and with good colors LXXXXVII "How you should cut the golden tin, and embellish" LXXXXVIII How to make green tin for embellishing LXXXXVIIII "How to make the golden tin, and how to lay fine gold with this vermeil" C "How to fashion or cut out the stars, and put them on the wall" CI How you can make the diadems of the saints on the wall with this tin gilded with fine goldCII How you should model up a diadem in lime mortar on a wall CIII How from the wall you enter upon panel-painting. This ends the fourth section of the book V CIIII The system by which you should prepare to acquire the skill to work on panel CV How you make batter or flour paste CVI How you should make cement from mending stones CVII How to make cement for mending dishes of glass CVIII "How fish glue is used, and how it is tempered" CVIIII "How goat glue is made, and how it is tempered; and how many purposes it will serve" CX A perfect size for tempering gessos for anconas or panels CXI A size which is good for tempering blues and other colors CXII To make a glue out of lime and cheese. This ends the fifth section of this book VI CXIII How you should start to work on a panel or anconas CXIIII How you should put cloth on a panel CXV How the flat of a panel should be gessoed with the slice with gesso grosso CXVI How to gesso sottile for gessoing panels CXVII How to gesso an ancona with gesso sottile; and how to temper it CXVIII How you may gesso with gesso sottile without having gessoes with gesso grosso first CXVIIII How you should temper and grind gesso sottile for modeling CXX How you should start to scrape down an ancona flat gessoed with gesso sottile CXXI "How the gesso sottile on the flats should be scraped down, and what these scrapings are good for" CXXII "How to draw on panel with charcoal, to begin with, and to fix it with ink" CXXIII How you should mark out the outlines of the figures for gilding the grounds CXXIIII "How to model on a panel with gesso sottile, and how to mount precious stones" CXXV How you should cast a relief for embellishing areas of anconas CXXVI How to plaster reliefs on a wall CXXVII How to model with mortar on a wall the say you model with gesso on panel CXXVIII "How to take reliefs from a stone mold, and how they are good on wall and on panel" CXXVIIII How you may model on a wall with varnish CXXX How you may model on a wall with wax CXXXI "How to lay bole on panel, and how to temper it" CXXXII "Another way to temper bole on panel, for gilding" CXXXIII How you may gild on panel with terre-verte CXXXIIII How to gild on panel CXXXV What stones are good for burnishing this gilding CXXXVI How to prepare the stone for burnishing gold CXXXVII "How you should burnish the gold, or mend matters in case it could not get burnished" CXXXVIII "Now I will show you how to burnish, and in what direction, especially a flat" CXXXVIIII "What gold is good for burnish and mordant gilding, and what thickness" CXL "How you should begin swinging the diadems and do stamping on the gold, and mark out the outlines of the figures" CXLI How to design gold brocades in various colors CXLII How to execute gold or silver brocades CXLIII Several rules for cloths of gold and silver CXLIV "How to do velvet, wool, and silk" CXLV How to paint on panel CXLVI How to make draperies in blue and purple CXLVII How to paint faces CXLVIII How to paint a dead man CXLVIX How to paint wounds CL How to paint water VII CLI "A short section on mordant gilding. How to make a standard mordant, and how to gild with it" CLII How to control the drying of the mordant CLIII How to make a mordant out of garlic VIII CLIV Introduction to a short section on varnishing CLV When to varnish CLVI How to make a painting look as if it were varnished IX CLVII "A short section on illuminating: first, how to gild on parchment" CLVIII Another kind of size: for grounds only CLIX How to make and use mosaic gold CLX How to grind gold and silver for use as colors CLXI Colors for use on parchment X CLXII "A section dealing with work on cloth: first, painting and gilding" CLXIII Various ways to do hangings CLXIV How to draw for embroiderers CLXV "How to work on silk, on both sides" CLXVI How to paint and gild on velvet CLXVII How to lay gold and silver on woolen cloth CLXVIII How to make devices out of gilded paper CLXIX How to model crests or helmets CLXX How to do caskets or chests XI CLXXI "A short section on operations with glass: first, for windows" CLXXII How to gild for reliquary ornaments CLXXII Arrangements for drawing on this glass CLXXII How to draw on the gilded glass CLXXII How to scrape the gold off the backgrounds CLXXII How to back up the drawing with colors XII CLXXII "Part of a section dealing with mosaic: first, a fragment from the end of a chapter otherwise lost" CLXXII Mosaic of quill cuttings CLXXII "Mosaic of crushed eggshells, painted" CLXXII Mosaic of paper or foil CLXXII "Mosaic of eggshells, gilded" XIII CLXXIII "A section dealing with miscellaneous incidental operations: first, block printing on cloth" CLXXIV How to gild a stone figure CLXXV The dangers of a wet wall for fresco CLXXV Preliminary precautions against moisture CLXXV Waterproofing with boiled oil CLXXVI Waterproofing with pitch CLXXVI Waterproofing with liquid varnish CLXXVII How to distemper inside walls with green CLXXVIII How to varnish terre-verte CLXXIX How to clean off the paint after you have made up a face CLXXX The perils of indulgence in cosmetics CLXXXI "The final section, devoted to methods of casting, begins here" CLXXXII How to take a life mask CLXXXIII The breathing tubes CLXXXIV The operations of casting the matrix CLXXXIV How to cast this waste mold CLXXXV How to cast whole figures CLXXXVI How to make a cast of your own person CLXXXVII Castings in gesso for use on panel CLXXXVIII How to cast medals CLXXXIX How to make a mold from a seal or coin Index
