Note 227 — Chapter XI · (XXV.)

This process of wetting the back of the canvas is to be noted. The chief inconvenience of the kind of work here spoken of is that it dries very quickly, and dries moreover very much lighter than when the work is wet. Hence it is an advantage to keep the ground wet as long as possible till the tints are properly fused, so that all may dry together. Wetting the back of the canvas secures this end. The technique that Vasari is describing is the same as that of the modern theatrical scene-painter, and would be called ‘distemper painting.’ The colours are mixed with whitening, or finely-ground chalk, and tempered with size. The whitening makes them opaque and gives them ‘body,’ but is also the cause of their drying light. F. Lloyds, in his Practical Guide to Scene Painting and Painting in Distemper, Lond. 1879, says (p. 42) ‘In the study of the art of distemper painting, a source of considerable embarrassment to the inexperienced eye is that the colours when wet present such a different appearance from what they do when dry.’