Chapter VII · (XXI.)
Louisa S. Maclehose translation
Of Painting in Oil on Panel or on Canvas.
§ 83. Oil Painting, its Discovery and Early History.
A most beautiful invention and a great convenience to the art of Painting, was the discovery of colouring in oil. The first inventor of it was John of Bruges in Flanders,[202] who sent the panel to Naples to King Alfonso,[203] 227and to the Duke of Urbino, Federico II,[204] the paintings for his bathroom. He made also a San Gironimo,[205] that Lorenzo de’ Medici possessed, and many other estimable things. Then Roger of Bruges[206] his disciple followed him; and Ausse (Hans)[207] disciple of Roger, who painted 228for the Portinari at Santa Maria Nuova in Florence a small picture which is to-day in Duke Cosimo’s possession. From his hand also comes the picture at Careggi, a villa outside of Florence belonging to the most illustrious house of the Medici. There were likewise among the first painters in oil Lodovico da Luano[208] and Pietro Crista,[209] and 229master Martin[210] and Justus of Ghent[211] who painted the panel of the communion of the Duke of Urbino and other pictures; and Hugo of Antwerp who was the author of the picture at Santa Maria Nuova in Florence.[212] This art was afterwards brought into Italy by Antonello da Messina, who spent many years in Flanders, and when he returned to this side of the mountains, he took up his abode in Venice, and there taught the art to some friends. One of these was Domenico Veniziano, who brought it afterwards to Florence, where he painted in oil the chapel of the Portinari in Santa Maria Nuova. Here Andrea dal Castagno learned the art and taught it to other masters,[213] among whom it was amplified and 230went on gaining in importance till the time of Pietro Perugino, of Leonardo da Vinci and of Raffaello da Urbino, so much so that it has now attained to that beauty which thanks to these masters our artists have achieved. This manner of painting kindles the pigments and nothing else is needed save diligence and devotion, because the oil in itself softens and sweetens the colours and renders them more delicate and more easily blended than do the other mediums. While the work is wet the colours readily mix and unite one with the other; in short, by this method the artists impart wonderful grace and vivacity and vigour to their figures, so much so that these often seem to us in relief and ready to issue forth from the panel, especially when they are carried out in good drawing with invention and a beautiful style.
§ 84. How to Prime the Panel or Canvas.
I must now explain how to set about the work. When the artist wishes to begin, that is, after he has laid the gesso on the panels or framed canvases and smoothed it, he spreads over this with a sponge four or five coats of the smoothest size, and proceeds to grind the colours with walnut or linseed oil, though walnut oil is better because it yellows less with time. When they are ground with these oils, which is their tempera (medium), nothing else is needed so far as the colours are concerned, but to lay them on with a brush. But first there must be made a composition of pigments which possess seccative qualities as white lead, dryers, and earth such as is used for bells,[214] 231all thoroughly well mixed together and of one tint, and when the size is dry this must be plastered over the panel and then beaten with the palm of the hand, so that it becomes evenly united and spread all over, and this many call the ‘imprimatura’ (priming).
§ 85. Drawing, by transfer or directly.
After spreading the said composition or pigment all over the panel, the cartoon that you have made with figures and inventions all your own may be put on it, and under this cartoon another sheet of paper covered with black on one side, that is, on that part that lies on the priming. Having fixed both the one and the other with little nails, take an iron point or else one of ivory or hard wood and go over the outlines of the cartoons, marking them firmly. In so doing the cartoon is not spoiled and all the figures and other details on the cartoon become very well outlined on the panel or framed canvas.
He who does not wish to make cartoons should draw with tailors’ white chalk over the priming or else with charcoal made from the willow tree, because both are easily erased. Thus it is seen that the artist, after the priming is dry, either tracing the cartoon or drawing with white chalk, makes the first sketch[215] which some call ‘imporre’ (getting it in). And having finished covering the whole the artist returns to it again to complete it with the greatest care: and here he employs all his art and diligence to bring it to perfection. In this manner do the masters in oil proceed with their pictures.
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