Painting, Distem′per. A method of painting generally adopted by the ancients. Water was the principal medium, but various gelatinous and albuminous ‘binders’ were added to fix the pigments. Of these the most important were glue, size, and white of egg. In modern distemper, as executed by the painters of theatrical scenery, panoramas, &c., spirit of turpentine is largely employed as a medium.
Painting, Elydor′ic. A method of painting invented by M. Vincent, of Montpelier, having for its object to combine the fresh appearance and finish of water colours with the mellowness of oil painting. The liquid employed as a vehicle for the pigments is an emulsion formed of oil and water by the intervention of certain portion of gum or mucilage.
Painting, Enam′el. In this variety of painting, vitrifiable colours are laid on thin plates of metals, and fused into it. The outline is first burnt in, after which the parts are filled up gradually, with repeated fusions at an enameller’s lamp, to the most minute finishing touches. “The enamel painter has to work, not with actual colours, but with mixtures which he only knows from experience will produce certain colours after the operation of the fire.” (Aikin.)
Painting, Encaus′tic. This method is very ancient, but is now seldom practised. According to Pliny, the colours were made up into crayons with wax, and the subject being traced on the ground with a metal point, they were melted on the picture as they were used. A coating of melted wax was then evenly spread over all, and when it had become quite cold was finally polished.
The art of encaustic painting, after lying dormant for about 15 centuries, was revived by Count Caylus, in 1753. In its new form, the wood or canvas to be painted on is first well rubbed over with wax, and then held before the fire, so that the wax may penetrate and fill up all the interstices, and form a perfectly even surface. The coloured pigments are next mixed with the powder noticed below, which is then rubbed smooth with some thick gum water, and applied with brushes in the same manner as ordinary water colours. When the painting is finished, and quite dry, it is brushed over with pure white wax in a melted state, the surface being equalised by the skilful application of heat; it is, lastly, polished off; as before.
The powder.—To white wax, melted in an earthen pipkin, add, in small portions at a time, an equal weight of powdered mastic, stirring continuously until the whole is incorporated; then pour it into cold water, and afterwards reduce it to powder in a wedgwood-ware mortar. A small quantity only of this powder is used with light colours; but more is required with the darker ones, until, on approaching black, the two may be mixed in almost equal proportions.
Painting, Fres′co. This method of painting was known to the ancient Egyptians, and was commonly practised by the Greeks and Romans. It is confined to the decoration of the walls of buildings, and is executed by incorporating the colours with the still moist plaster, or gesso. The pigments employed are entirely mineral or vitreous. As it is extremely difficult to alter the work after the colours are once absorbed, or after the ground has hardened, the whole must be carefully designed before commencing the picture, and no more commenced at once than can be executed during the day.
Of all the varieties of painting, fresco is “undoubtedly the most virile, most sure, most resolute, and most durable” (Vasari), and the one most adapted for the purposes of historical painting in its grandest and most exalted forms. In comparison with it, it has been said that even oil painting is “employment fit only for women and children.” (Michael Angelo.)
Painting, Glass. See Stained glass.
Painting, Oil. This well known and much practised method of painting takes its name from the vehicle employed for the colours. The last may be any of those of a permanent character, and whose natural tint is not altered by admixture with oil. Linseed, nut, and