Blackwood's Edinburgh Magazine, Volume 62, No. 383, September 1847

To those much acquainted with art, it will be thought of the utmost importance to obtain any recipes of the time of Rubens and Vandyke. Such we are in possession of – contained in a manuscript in the British Museum – of which we may expect the publication entire. It may be interesting to give some account of this MS. and its author. The manuscript is entitled "Pictoria, Sculptura, Tinctoria, et quæsub alternarum artium spectantia, in Lingua Latinâ, Gallicâ, Italicâ, Germanicâ conscripta, a Petro Paulo, Rubens, Vandyke, Somers, Greenberry, Jansen, &c. – Fo. xix. A.D. 1620; T. de Mayerne." Theodore Mayerne, the author, was born at Geneva, 1573. "He selected the medical profession; and after studying at Montpelier and Paris, accompanied Henri Duc de Rohan to Germany and Italy. On his return he opened a school, in which he delivered lectures to students in surgery and medicine. This proceeding, and the innovation, as it then appears to have been, of employing mineral specifics in the healing art, excited a spirit of opposition which led to a public resolution, emanating from the faculty at Paris, in which his practice was condemned. His reputation rapidly increased from this period. He had before been appointed one of the physicians in ordinary to Henry IV. In 1611, James I. invited him to England, and appointed him his first physician. De Mayerne enjoyed the same title under Charles I. He died at Chelsea, leaving a large fortune, 1655."… "Dallaway, in his annotations on Walpole, after noticing the influence of De Mayerne's medical practice on the modern pharmacopœia, remarks that 'his application of chemistry to the composition of pigments, and which he liberally communicated to the painters who enjoyed the royal patronage, – to Rubens, Vandyke, and Pelitot – tended most essentially to the promotion of the art. From his experiments were discovered the principal colours to be used for enamelling, and the means of vitrifying them. Rubens painted his portrait; certainly one of the finest now extant. It originally ornamented the Arundel collection: was then at Dr Mead's, Lord Besborough's, and is now (1826) at Cleveland House.'… A monarch who was so fond of painting as Charles I., was fortunate in having the assistance of a person who combined a love of art with a scientific knowledge applicable to its mechanical operations. It is not surprising that such an amateur as De Mayerne should enjoy the confidence of the first painters of his time; or that in return for the useful hints which he was sometimes enabled to give them, they should freely open to him the results of their practical knowledge. Such communications, registered at the time by an intelligent observer, threw considerable light on the state of painting at one of its most brilliant periods, and tend especially to illustrate the habits of the Flemish and Dutch schools."

De Mayerne records the use of sand in purifying oils, as a communication from Mytens, painter to Charles I., before the arrival of Vandyke. "Coming from such a source," says Mr Eastlake, "it may be classed among the processes which were familiar to the Flemish and Dutch painters."

The works of the Flemish and Dutch painters are undoubtedly those which the artists of the present day would desire to be the tests of vehicles and of colours. They can scarcely have, therefore, a more valuable document than this manuscript of De Mayerne, the friend of Vandyke. From this source there is much information with regard to colours. It has always been supposed that Rubens in particular was lavish in the use of Naples yellow. It was largely used by the Italian painters; but it is omitted in the list of colours of the Dutch and Flemish. Many yellows, which in oil alone will not stand, are, it seems, durable if protected by an oleo-resinous medium. After enumerating many other yellows, Mr Eastlake remarks – "There was, however, one substance, viz. gamboge, now undeservedly fallen into disuse in oil painting, which is superior to most, if not to all, of those above named; the colouring matter united with its resinous portion, which renders it more durable in oil painting, may be easily freed from mere gum. De Mayerne, it would seem on good grounds, pronounces in its favour; and his speculations respecting the best mode of using it are confirmed by modern authorities. Gamboge, he observes, furnishes a beautiful yellow, constant, unfading, and that works freely."

We are not surprised to see another pigment commended; we have long used it, but believe it is unknown as a colour by the artists of the present day, though, we suspect, sold by colour-makers for common work as a cheap brown. It is common coal. De Mayerne says, "The shadows of flesh are well rendered by pit-coal, which should not be burned." It is also recommended by Van Mander, and by Norgate, "whose directions for oil painting correspond in all outward particulars with the Flemish methods." In some experiments recorded by Sir Joshua Reynolds – there are the words "Gamboge and oil – but no colour remains;" yet it should be observed that where it is protected it is most durable. We believe the Aloes Cavallino, spoken of in terms of commendation by Leonardo da Vinci, to be an excellent transparent colour – and well calculated to give great richness to browns and to greens. It is certainly very interesting to know the colours actually used by the best masters of bye-gone days, – but we must not forget that modern science may greatly have improved many, and produced others, and has surer grounds to pronounce on their permanency. Mr Field, in his Chromatography, has rendered a very great service to art.

It is not only the varnish, or rather the gums which compose the varnishes, that should be considered with great attention, in reviewing this subject, – but the great stress which seems to have been universally laid upon the necessity of purifying the oils. And this necessity is insisted upon from the earliest times. Even after all the precaution and pains taken to purify oils, there will be a tendency to turn yellow upon the surface. Rubens, in a letter, speaks of this, and gives orders for his pictures, which were packed freshly painted, to be exposed to the sun. And this practice of exposure to the sun seems to have been adopted generally in Italy, as well as elsewhere, not only for the purpose of drying the paint more readily, but for the freeing the surface from the yellowing of the oil, the deleterious portion of which is thus taken up by the atmosphere and the heat of the sun.

We have unhesitatingly exposed the surfaces of freshly painted pictures not only to the sun, but to all weathers, – and that not for a few hours but for weeks – and always with advantage. There is another method also which will be found equally beneficial. When the surface is greasy, and will not take water from the sponge, it may be truly conjectured that this deleterious quality of the oil has exuded. We always remove it by sand and water – the coarser the sand the better; the finer, being more silicious, is more likely to cut. But we must observe that even though the picture be not fairly dry, excepting under very rough usage, the paint will not be at all removed. Even after this cleansing, the oil will still, for a considerable time, throw up this greasy product. We remove it, therefore, again and again until, after a week or ten days' trial, we find the surface free from grease; and we are strongly inclined to think the colours undergo no change when this clearance has been once well effected. In a letter from Mrs Merrifield, she strongly recommends this exposure of pictures to the sun and atmosphere; and says it was universally practised. This should not, however, prevent the previous purification of the oils; for there is no writer upon the subject that does not insist upon this. Mr Eastlake's book furnishes recipes of all ages. Frequent washings with water, to which a little salt is added, and fine sand to take down the impurities of the oil, may be safely recommended. In describing the process taught by the Gesuate, friends of Perugino, the Padre Gesuato adds, "Observe, that wherever you find oil mentioned, this purified oil is meant."

It would appear that the pigments were, formerly as now, ground only in oil: the vernix was added to the colour, by drops, when on the palette; so that, should the new, or recovered old vehicles, if such they be, come into general use, it will not be necessary to discard the supply of oil colours from the shops of our colour-makers. The colours in tubes, which happily have superseded the bladders, will still be in general request. Northcote thought it a great advantage to the old Italian masters that they were under the necessity of making most of their colours themselves. This, certainly, was not the case in the earlier times; for the monks, who were every thing – physicians, painters, chemists, &c. – were not only the patrons and dealers, but were makers of the colours also. We cannot quite agree with Northcote. The only objection we have to offer to the present system of tube colours is as regards their cost; for, considering the value of the materials, the cost of putting them up seems very exorbitant. This is of little consequence, indeed, in painting easel pictures of no great size; but if we are to proceed on the large scale, which the Commission for the Fine Arts encourages, it would become a matter of some consideration. It has been supposed that the first colour-shop in London was set up by a servant of Sir Godfrey Kneller's; but there is reason to believe, from some incidental remarks, that the trade existed in De Mayerne's time. Some painters of great eminence had their favourite colour-makers, employed, probably, by themselves exclusively. In a letter, Titian regrets the death of the man who prepared his white, – and De Mayerne says of Vandyke, "He spoke to me of all exquisite white, compared with which the finest whitelead appears gray, which he says is known to M. Rubens. Also of a man who dissolved amber without carbonising it, so that the solution was pale yellow, transparent." We learn from this that there were then colour-makers and varnish-makers, and also that the brilliant white of Rubens may not always have been whitelead.

There seems to have been in the fourteenth century a kind of painting practised in England which much attracted the notice of foreigners. It was of water-colours on cloth – "on closely woven linen saturated with gum water. This, when dry, is stretched on the floor over coarse woollen frieze cloths; and the artists, walking over the linen with clean feet, proceed to design and colour historical figures and other subjects. And because the linen is laid quite flat on the woollen cloths, the water-colours do not flow and spread, but remain where they are placed, the moisture sinking through into the woollen cloths underneath, which absorb it. In like manner, the outlines of the brush remain defined, for the gum in the linen prevents the spreading of such lines. Yet, after this linen is painted, its thinness is no more obscured than if it was not painted at all, as the colours have no body." This does not at all resemble the kind of tempera painting in use in Flanders to imitate tapestry; for it is noticed as peculiar to England by a native of Flanders. May not this method be again, with some advantage, restored for the getting in the subjects of large pictures? The cloth so painted might easily be put on other cloth prepared with a ground.

The subject of grounds is not omitted: it is one of importance; and the artist will do well to study Mr Eastlake's book, if he would have a ground that might suit his after-work. All grounds made with glues are bad – they not only crack, but change the colours. M. Merimée accurately examined the grounds of some of Titian's pictures – and found starch and paste. It is supposed that grounds in which red-lead and umber have been used darken all the pigments.

The Venetians usually preferred painting on cloth, and not unfrequently chose the finest. There was a canvass used in Italy, and chiefly by the Bolognese school, which gives much richness, its peculiar texture being seen even through tolerably thick paint – the threads are in squares, and rather coarse. We are surprised that such is not to be met with in our shops. We have often endeavoured to obtain it without success. On canvass of this kind some painters, and among them Guercino, contrived greatly to raise the lights – so that as seen side-ways they appear to bulge. We are not aware how this was done.

We take some credit to ourselves for having in the pages of Maga, so long ago as June 1839 – promoted an inquiry into the nature of the vehicles used by the old masters. And this we did, knowing that we should incur some odium and contemptuous disapprobation at the hands of artists, too many of whom were jealous of any supposed superiority in their great predecessors, and were generally satisfied with the meguilp, (mastic varnish, beat up with drying oil,) which had, nevertheless, been proved so deceitful from the first days of its adoption. The readiness with which it was made, the facility of working which it offered, and its immediate brilliancy, were temptations too great to be resisted. The too common use of this vehicle, we confess, led us too far in a contrary direction – to set ourselves against all varnishes whatever; and we laid, perhaps, too much stress upon the authority of Tingry, who speaks strongly against the admixture12 of varnishes with oil; and, with this bias, we reviewed, in Maga, M. Merimée's work, in which, certainly with mistranslations of the Latin of Theophilus, as well as of Italian quotations, he insisted upon the use principally of copal, though without any distrust of mastic.

The difference between the texture of old paint, that is of the good age, both Italian and Flemish, and that which modern practice had exhibited, was too manifest to be overlooked; and we never could bring ourselves to believe that the meguilp in use, by itself, ever had or ever would produce that solid brilliancy or substantial transparency which was and is the great charm in the genuine works of the good old time of the art. And we believe still that all experience is against it, and that the era of its adoption is marked in the history of art by the visible deterioration in the quality of the painted surfaces. Bad as we conceive the use of mastic always to have been, it was not, until comparatively modern times, employed in the most injurious manner. The Flemish and Italian recipes incorporated it with the oil, together, generally, with other substances, by heat, and not, according to the subsequent modern practice, merely dissolved in turpentine and added to the oil. Of all varnishes mastic is the softest, most liable to decomposition, most readily affected by atmospheric changes, having no protection or medium of incorporation, being merely liquified with turpentine, which, evaporating, leaves the mastic to the injuries of air and moisture. Oil varnishes are, however, of another character, and we are converted to their use by historic evidence, and authorities which cannot be doubted. We do not assert that the exact recipes and formulæ, for the compositions of the true oleo-resinous vehicles are not now in possession of the public. We are inclined to think they are; but, as we are promised by Mr Eastlake another volume, chiefly upon the Italian practice, which, too, we presume to think was the best, we in some degree force ourselves to suspend our judgment, resting our hope for what is to come upon the undeniable value of what has been already given us.

When we formerly treated of this subject, we mentioned the great reliance we placed upon the results of the accurate research and experiments of a friend, P. Rainier, Esq., M.D. of the Albany. It is greatly to be regretted that, at his death, his papers were not properly collected and arranged for use; they are, it is to be feared, lost. We well remember his assertion, that the paint of the old masters invariably vitrified by fire. In proof, he scraped off some paint from an old picture, (it was in the shadow part of back-ground, and not very thick, and where there was not, apparently, any white-lead). He laid it on some platina, and subjected it to the heat of the blow-pipe. The oil first exploded, and the paint was vitrified. Hence, originated the borax medium – remarkable property of which was its capability of being used with water as a diluent or with oil, – thus being a kind of union of the earlier temperas and the oil medium. This borax-glass vehicle was certainly a discovery, or rediscovery, as he was inclined to think it, of our highly valued friend, P. Rainier. We say re-discovery, remembering his playful assumption of a motto, "Veterem revocavit artem." He was probably led to this use of a glass composed of borax, by the vitrification of the pigments; and we still suspect that, in some of the old Italian recipes, glass, with borax as an ingredient, will be found. "A peculiar kind of Venetian glass," says Mr Eastlake, "used, when pulverised, as a dryer, contained a considerable portion of lead; and if it acted chemically, may have derived its siccative quality from that ingredient." The question here naturally suggests itself, Why was a peculiar glass used for this purpose, when it was perfectly well known that lead of itself would have been sufficient? Again, in page 358, from the Mayerne MS., as quoting the authority of Mytens; "This oil (mancop) does not dry of itself easily, but it is usually ground with Venetian glass, and thus to the sun in a glass bottle. This should be shaken every four days for three or four weeks: it should then be carefully decanted for use, leaving the sediment with the glass." It is a question if the glass was here solely used to facilitate the sediment.

Vitrification would not depend upon the introduction of glass only, – calcined bones, which, it is now known, were much used in vehicles, will produce the same result. In a note, page 345, Mr Eastlake says that he requested Mr Marris Dimsdale to analyse a fragment of a picture by Cariani of Bergamo, (a contemporary and scholar, or imitator of Giorgione;) – the result being, that "one portion ran fairly into a vitrified state. Hypothetically," adds Mr Dimsdale, "I should say it had burned bones in it." And again, "Every colour mixed with phosphate of lime, (calcined bones,) vitrifies when exposed to strong heat. As Venetian pigments vitrify, might not phosphate of lime have been used as a dryer?"

We cannot but suspect any medium under which the pigments will not vitrify. The publication of Mr Eastlake's most important and valuable volume, rather strengthens our reliance upon the various communications made to us by Mr Rainier. For instance, many years ago, we used, at his recommendation, sandarach, dissolved in spike oil, and then mixed with the oil heated. It may not be amiss here, as sandarach is now so strongly recommended, and shown at least to have formed a part of one of the precious vehicles, to state the result of its use some twenty years ago. A picture we then painted with it, is still without a crack, extremely hard, and though by no means well painted, is good in texture, and resembles in the quality of the pigments very much that of the old schools. Though for some years shut up in a portfolio, the colours do not appear to have undergone any change.

Although it will not probably be found that borax was used in the good recipes by name, it may have been in the Venetian glass – at all events, though we are now rather in search of what was in use, than what may be useful and good in itself, as it were de novo, it may be worth while to remember the double facility it offers of use with oil or water, both or either; and it may be added that the experience of some years shows nothing against it and much in its favour. We have thought it to be a preservative of colours. In our review of M. Merimée, we threw out a conjecture that it might have been the Gummi Fornis in the recipe of Theophilus – and which M. Merimée believed to be copal. But we are quite convinced of our error by the arguments – we might say proofs – adduced by Mrs Merrifield, contained in a note, in her admirable and most useful volume, "Cennino Cennini." That it was sandarach there can be no doubt; and we were in consequence induced to try the making the vehicle according to the recipe of Theophilus, and perfectly succeeded. It has a pleasant lustre, not that somewhat disagreeable shine which is often visible in pictures painted with copal. For the quality of sandarach Mrs Merrifield quotes Raffael Borghini, from his "Reposo" – "If you would have your varnish very brilliant, use much sandarach."

Mr Eastlake has shown that Mrs Merrifield was not quite so fortunate in her remark against M. Merimée's conjecture that the "Gummi Fornis" was copal. "As that is brought from America, it could not possibly have been known to Theophilus, who lived between three and four hundred years previous to the discovery of that country." The name copal, as that of Brazil, is not indigenous to America. Both that gum and dye were African, and transferred to the similar productions of the New World. It is curious that a distinction made between "vernice," and "vernice liquida" should be the means of ascertaining the gum given in the recipe of Theophilus which M Merimée believed to be copal. Vernice was the name of sandarach, and was in common use in its dry state, as pounce, but when made into a varnish with oil, it was called vernice liquida.

To those who delight in etymologies, it will afford amusement to learn that the word varnish is with much reason conjectured to be derived from the name of a daughter of one of the Ptolemies, celebrated for her amber-coloured hair, – the heroine of the poem of Callimachus of which we have only the translation by Catullus, the "Coma Berenices." Eustathius, the commentator on Homer of the twelfth century, states that amber (ἢλεκτρον) in his day was called βερονίκη. Salmasius spells it βερενικι. "Even during the classic ages of Greece β represented φ in certain dialects." Veronica, in the Lucca M.S., (eighth century,) more than once occurs among the ingredients of varnishes. "And it is remarkable," adds Mr Eastlake, "that in the copies of the same recipes in the Mappæ Clavicula (twelfth century) the word is spelt in the genitive – Verenicis and Vernicis," and thus we come by very legitimate derivation to the English word varnish. Sandarach, however, becoming in process of time the common substitute for amber, took the name: and to distinguish this oleo-resinous varnish from that of the real amber, the latter is called "Vernice liquida gentile." The "Mappæ Clavicula," spoken of above, is a very curious publication, in the last No. of the Archæologia, vol. xxxii. part 1, of a MS. treatise on the preparation of pigments during the middle ages. Speaking of the vernice liquida, Mr Eastlake says: —

"The amber varnish had been adopted in its stead by the early Flemish painters, and though often represented by13 copal, had never been entirely laid aside; it had even returned to the north from Italy in the hands of Gentileschi. Rembrandt, from motives of economy, may have employed the scarcely less durable common "vernix" or sandarac oil varnish; and for certain effects may have reckoned on its tint. Either this, or the rapidly drying Venice amber before described, was in all probability used by him freely."

Mr Eastlake thinks that the darkness of the vehicle had been allowed to increase (and the darker the thicker it would be) with the darkness of the colour employed. That this was the case, we might conjecture, not only from the works of Rembrandt, but we think it may be so seen in some of the back-grounds of Correggio. "The influence of the colour of the vehicle on the quantity and depth of shadow is indeed plainly to be traced in the general style of oil painting, as compared with tempera and other methods." In a note on this passage we are told that "Sandrart relates, it is to be hoped on no good authority, that Rubens induced Jordaens to paint some works in tempera for tapestries, in the hope that his rival, by being accustomed to the light style of colouring suitable to tempera, might lose his characteristic force in oil. The biographer even adds that the scheme answered."

Now we make this quotation, which is not creditable to Sandrart, to remove if we may its sting: for who would wish this moral stigma to rest upon the character of so great a man as Rubens? We have no doubt the advice was conscientiously given, and with a true accurate judgment of the powers of Jordaens. We can easily imagine that the heavy handling, the somewhat muddy loading of the colour in every part of the pictures of Jordaens, must have been offensive to Rubens, who so delighted in the freer, fresher, and more variable colouring and handling. And such is the judgment which the present day passes upon Jordaens, to the depreciation of his works, and in vindication of the advice of Rubens.