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Excerpt from Theory and Practice of Painting on Metal In 1898 the writer put out a little book of specifications for painting on structural mental, which has been received with considerable favor; but the last edition (of two) is now out of print and it has seemed desirable to reprint the specifications and to add such remarks as further experience the suggested. The specifications themselves are almost unchanged; but some work has recently been done which exceeds in excellence and thoroughness anything heretofore described, and it seems well to given somewhat detailed account of it, which will be done in proper course. Uncombined metallic iron is so rare, as a natural mineral, that practically there is no such thing. It is found chiefly as an oxide, though carbonates, silicates, and other salts abound and in particular the sulphide, pyrite, is very widely distributed. It may be said that the coloring-matter of most of the dark-colored minerals and rocks is mainly iron. Metallic iron is obtained from the ore by using the most powerful chemical agencies and it constantly tends to go back into combination; when it does this by natural means the product is termed rust. Usually rust is hydrated oxide of iron, mixed with more or less carbonate, and often with sulphate, sulphide, chloride, or other salts of iron. The common cause of rust is the action of air containing moisture and acids, especially carbonic acid; and to prevent it we must exclude water and gases. This is very difficult, but has been attempted in many ways. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
In this study of the rare twelfth-century treatise On Diverse Arts, Heidi C. Gearhart explores the unique system of values that guided artists of the High Middle Ages as they created their works. Written in northern Germany by a monk known only by the pseudonym Theophilus, On Diverse Arts is the only known complete tract on art to survive from the period. It contains three books, each with a richly religious prologue, describing the arts of painting, glass, and metalwork. Gearhart places this one-of-a-kind treatise in context alongside works by other monastic and literary thinkers of the time and presents a new reading of the text itself. Examining the earliest manuscripts, she reveals a carefully ordered, sophisticated work that aligns the making of art with the virtues of a spiritual life. On Diverse Arts, Gearhart shows, articulated a distinctly medieval theory of art that accounted for the entire process of production—from thought and preparation to the acquisition of material, the execution of work, the creation of form, and the practice of seeing. An important new perspective on one of the most significant texts in art history and the first study of its kind available in English, Theophilus and the Theory and Practice of Medieval Art provides fresh insight into the principles and values of medieval art making. Scholars of art history, medieval studies, and Christianity will find Gearhart’s book especially edifying and valuable.
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Old-House Journal is the original magazine devoted to restoring and preserving old houses. For more than 35 years, our mission has been to help old-house owners repair, restore, update, and decorate buildings of every age and architectural style. Each issue explores hands-on restoration techniques, practical architectural guidelines, historical overviews, and homeowner stories--all in a trusted, authoritative voice.
DigiCat Publishing presents to you this special edition of "The History, Theory, and Practice of Illuminating" (Condensed from 'The Art of Illuminating' by the same illustrator and author) by M. Digby Sir Wyatt. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.