Oil, which was formerly employed for this purpose, is very strongly condemned by Pettenkofer.
Oil paintings, as probably most of our readers are aware, are mostly executed either on wood (‘panel’) or canvas, now principally on the latter. Both these substances have to undergo a preliminary operation known as ‘priming,’ the priming being, in short, the ground on which the paint is placed. This priming may consist either of a number of layers composed of a mixture of chalk or plaster, with paste or glue, or else of a series of coats of oil colour. When a canvas or panel is prepared with the former, it is called ‘distemper priming,’ when with the latter, ‘oil priming.’ The distemper is the more quickly prepared, but is open to the objection of being easily broken, and of a liability to absorb moisture, by which it becomes liable to separate from the canvas.
If the priming be of oil colour it is desirable that the chief pigment used in making it should be white lead, and that if any other colours are added, they should be in comparatively small quantities. Dr R. Liebreich cites an example in which a departure from this precaution, persevered in from the middle of the 16th to that of the 17th century, by a celebrated school of Italian painters (the Bologna), has resulted in the destruction in their works of all the glazing of the picture, “so that those colours only can be recognised which either contain white, or are glazed on white.” Furthermore, that the dark priming used by these artists has caused the dark parts of their pictures to become still darker.
This priming which was of a reddish-brown colour, was composed of a mixture of bole Armenian and umber; and it is conjectured it was employed with the object of modifying or softening too violent contrasts of light and dark colours, and thus of easily securing effective chiaroscuro, and of aiding rapid execution.
The Dutch and Flemish painters mostly employed a light coloured priming; sometimes it was of a light oak colour. Vandyke is said to have used grey grounds for his pictures, and in some few instances dull red ones; and since his pictures are free from the objectionable qualities met with in the works of the Bologna artists, it has been surmised that in this method of working, he had recourse to impasto colouring.
In the selection of wood, which is subsequently to be used for the picture, considerable judgment and experience are required, that from the toughest and soundest oaks, nut trees, or cedar, being sought after. The cutting it into boards, and seasoning it, are also points exacting a great amount of time and care.
The backs of pictures, if made of wood, in addition to their liability to attacks from insects, not unfrequently warp, or fissures form in them, or they may become hopelessly rotten.
When the picture warps, it should be moistened with water at the back, on which it should be lain for 24 hours, at the end of which time, or sometimes less, it becomes perfectly straight. Fissures may be filled up by pieces of wood cut to the required size. Small pieces of rotten wood, if not too near the painting, may be cut out and the gaps filled up with wedge-shaped pieces of wood. Where the loss is insignificant it may be stopped up with cement. When the panel is very rotten and decayed, it may be necessary to remove the picture from it altogether, and to place it either on a new panel, or upon what Dr Liebreich regards as better still, a piece of canvas.
This is by no means so formidable and astonishing an operation as it may at first sight appear; in short, as will be directly shown, the picture may, if necessary, be freed from its priming even, without any difficulty.
Hacquin, of Paris, was one of the first to remove an oil painting from its base, and to