The art of painting in miniature on ivory ... Also, instructions for painting in wax-crayons ... To which is annexed, the art of burnishing gilding on glass / [John Payne].

  • Payne, John, active 18th century
Date:
1829
Catalogue details

Licence: Public Domain Mark

Credit: The art of painting in miniature on ivory ... Also, instructions for painting in wax-crayons ... To which is annexed, the art of burnishing gilding on glass / [John Payne]. Source: Wellcome Collection.

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    terra-sienna, Prussian blue, and drop-lake ; the more terra-sienna in it the warmer the teint; the more Prussian blue and lake, the colder. Another grey teint, which we have known to be used with success by some eminent miniature-painters, was composed of Prussian blue and Chinese vermilion ; but, on account of the unkind manner with which vermilion incorporates with any other colour, it required a greater portion of gum than ordinary to make them work or keep together. A third grey teint, which we consider as an excellent one, is formed of drop lake, sap green, and Prussian blue. OLIVE TEINTS. A very fine olive teint is formed of gall-stone, Nottingham ochre, and carmine, or lake; and another of sap green and lake, simply. OF HAIR TEINTS. A beautiful hair colour, either dark or light, according to the quantities of colours, is made of carmine, lamp-black, and sap green. The manner of forming it is only to be acquired by 'practice ; but the knowledge of making it, when once attained, will be found worth the time disposed of in the trial. That very difficult teint which is often to be met with in children’s hair, by the proper junction of these colours will be produced to per¬ fection. Other hairteints may be made of terra-de-casse! simply, or by the addition of lamp-black. Some excellent painters make all their hair-teints of burnt terra-sienna, lamp-black, and Not¬ tingham ochre, the latter being added only when there is light hair to be represented. Burnt umber has been substituted for terra-sienna, along with the lamp-black, and forms a good teint; but care must be taken to avoid either the greenish or reddish cast, which it is apt to produce. TEINTS FOR FINE LINEN, GAUZE, &C. Of all teints in transparent painting, such as in the miniature works of the present day, there is none more difficult to ascer¬ tain, than the one we are at present about to treat on ; from this reason the delicacy, not only of mixture, but of touch, would require a painter to be what no man ever was, semper eadem ;* for the same nicety of teint, for this purpose, whicn a , man might hit on this day, to-morrow he might not be so for¬ tunate in, nor might he be so happy in that exquisite touch which conveys the idea of beauty in the thinness and folding of the linen or gauze, the true painting of which often stamps the character of an artist, and, in the general opinion, throws a veil over the defects in other parts of the picture, which the more experienced connoisseur would readily point out. We shall therefore only observe, that any of the teints, under the * Always the same.
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