UvA-DARE (Digital Academic Repository)

Historical recipes for preparatory layers for oil paintings in manuals, manuscripts
and handbooks in North West Europe, 1550-1900: analysis and reconstructions

Stols-Witlox, M.J.N.

Publication date
2014

Link to publication

Citation for published version (APA):

Stols-Witlox, M. J. N. (2014). Historical recipes for preparatory layers for oil paintings in
manuals, manuscripts and handbooks in North West Europe, 1550-1900: analysis and
reconstructions. [Thesis, externally prepared, Universiteit van Amsterdam].

General rights
It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s)
and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open
content license (like Creative Commons).

Disclaimer/Complaints regulations
If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please
let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material
inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter
to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You
will be contacted as soon as possible.

UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl)

Download date:27 May 2024
 Appendix 6 Ground layers for canvas preparation 1550-1900, including South European recipes

6a Single-layer oil-bound grounds 1550-1900

source support smoothing sizing layer smoothing first ground layer smoothing isolation layer
repair

Vasari 1550 IT softest glue (x 4-5, with sponge) nut oil, white, lead tin yellow,
(1568): 52 earth that is used for bells (x
(translation 1, plastered over the canvas
Maclehose and and beaten with the palm of
Brown 1960: the hand)
230)
‘Reglás para SP glue water pumice stone some oil colour (common pumice stone
pintar' c. 1575- lead white, minium or black,
1600 (Bruquetas- oil)
Galán 1998: 37)

BnF Ms. Fr 640 c. FR common ashes, oil, chalk or

1580-1600: 57 colours gathered from the
perso 115 vessel [=pencil jar]
Borghini 1584 IT glue (x 1-2) colours
(1730): 136
Armenini 1587: IT Flour, oil lead soft glue (x 2-3) varnish, white, red a knife to shave
124-5 white (applied [=scrape] gently
with knife or
piece of bone)
Armenini 1587: IT Flour, oil lead soft glue (x 2-3) lead white, lead tin yellow, a knife to shave
124-5 white (applied earth that is used for bells [=scrape] gently
with knife or
piece of bone)
Armenini 1587: IT Flour, oil lead soft glue (x 2-3) verdigris, lead white, umber a knife to shave
124-5 white (applied [=scrape] gently
with knife or
piece of bone)
De Mayerne UK calf skin glue, or ‘cheurotin’ while size is wet, flatten lead white, umber (x 1-2)
1620-44: 11 with muller on marble,
with a muller

171
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer
repair

De Mayerne UK bathe in liquid glue, size with cut the knots in the lead white, little ochre,
1620-44: 98v liquid glue or apply gelled glue canvas with a well minium or other competent
from glove leather clippings (with cutting iron, pumice colour (with spatula)
bone or spatula) stone
De Mayerne UK bathe in liquid glue, size with cut the knots in the lead white, carbon black
1620-44: 98v liquid glue or apply gelled glue canvas with a well (with spatula)
from glove leather clippings (with cutting iron, pumice
bone or spatula) stone
Lebrun 1635 FR parchment or flour glue (with potters earth, yellow earth or
(Merrifield knife or spatula) ochre ground with nut or
1849(1999): 772) linseed oil (with knife or
spatula)
Pacheco 1649: SP flour or mill dust, oil, little honey pumice stone oil priming (x 1-2)
383-4
(translation Véliz
1986: 68)
Symonds 1650-2 IT layer of glue nut oil, lead white, lead tin
: 10 yellow, earth that is used for
bells
Symonds 1650-2 IT glue of glove cuttings or of glew scrape with an iron good quantity of oyle (red
: 10 earth, a little white, chalk,
very little carbon black)
King 1653-57: UK take off knots thin starch (with knife) pumice again primer (with wooden vording let dry hour or two to
[48] with pumice knife) the end that oyle may
stone sink into cloth, with
knife stuke away all the
primer you can
‘Tractato' 1656 SP flour gacheta [=flour paste], little loose threads and knots powdered shells from lakes, sanded with pumice
(translation Véliz common oil (with knife) are cut and canvas linseed oil (as many layers as stone and smoothed
1986: 111) smoothed with pumice needed to cover well, with and scraped with a
stone large knife) sharpened knife
‘Art of painting UK thin size, honey (x 2, first layer lead white, little red lead
in oyle' 1664: 95- warm with brush, second cold Spanish browne, umber, oyle
6 with a knife) (x 2, with a knife)

172
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer
repair

Volpato c. 1670 IT glue linseed oil, terra da bocali, red pumiced

(Merrifield 1849 earth, little umber (x 2, second
(1999): 731) coat more finely ground,
applied with knife)
Félibien 1676: FR Glue water Pumice stone to remove Brown red, little lead white to Pass a pumice stone
407-8 the knots make it dry sooner, nut or
linseed oil (with large knife)
Eikelenberg NL Porridge of wheat flour (with [lead white], umber, brown Knife, remove knots
1679-1704: 385 knife) red, little from the penciltray and ‘verselletjes’,
or rinsing jar ba..steen [some kind of
stone] or pumice stone

Eikelenberg NL Porridge of wheat flour (applied Knots and dirt removed Potters earth, linseed oil
1679-1704: 404- with brush, smoothed with with a ‘lacquer stone’
5 palette knife) [meaning not entirely
clear, but probably a
pumice stone]
Beurs 1692: 20 NL Water and pulp (‘brij’) [probably Rub on a grinding stone Umber, lead white, oil (x 3-4)
refers to paste such as prepared or board
from flour)
Hidalgo 1693 SP gacha, size, honey almagra and umber or
(translation Véliz Fuller's earth, cooked linseed
1986: 137) oil, drier (x 2-3)

Hidalgo 1693 SP glove clippings (x 2) 0 almagra and umber or

(translation Véliz Fuller's earth, cooked linseed
1986: 137) oil, drier (x 2-3)
Dupuy du Grez FR Glue water Pumice stone to remove Brown red, lead white, One may pass a
1699: 243-4 the knots Spanish white, linseed or nut pumice stone
oil (with large knife)

173
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer
repair

Palomino 1715, SP glove clippings glue clay that is left by the rivers, or
1724, vol. 2: 32- ‘tierra de Esquivias’, red earth,
33 linseed oil, old colours or dark
753
brown earth (‘sombra de el
Viejo’)
Palomino 1715, SP paste, honey, linseed oil Clay that is left by the rivers, or
1724, vol. 2: 32- ‘tierra de Esquivias’, red earth,
33 linseed oil, old colours or dark
754
brown earth (‘sombra de el
Viejo’)
Chambers 1728, GE glued pumice stone ochre, drying oil, often some pumice stone
vol 2: 735 lead white
Cröker 1729: 74- GE rock- or dust-flour, water (x 2, dmooth between layers red bole, varnish (x 1, with
77 with a small plank, with a thin while still wet, with glass brush)
underside and somewhat thicker grinding stone. When dry:
upper side) pumice stone, or sand
leather [=early type of
‘schuurpapier’]
de la Hire 1730: FR gelled leather glue (with large dcrape with the same brown red, oil, some siccative pumice
710 knife) knife (normally red minium) (x 1,
with the same knife)
Barrow 1735: UK layer of glue pumice stone oker, sometimes little lead pumice stone
n.p. white (x 1)

Chomel 1743: NL a glue grinding stone brown-red, lead white, polish with grinding
948 linseed and nut oil (x 1, with stone to make it
large knife) smoother
Pictorius 1747: NL glue water, wheat flour (rubbed even on a flat surface paint pumice stone
355 in with moist cloth) when somewhat dry, then
dry completely

753
Véliz 1986 in her edition of Palomino identifies ‘sombra de el Viejo’, which literaterally translates as ‘dark of the old one’ as ‘dark brown earth’. Véliz 1986: 150
754
Véliz 1986 in her edition of Palomino identifies ‘sombra de el Viejo’, which literaterally translates as ‘dark of the old one’ as ‘dark brown earth’. Véliz 1986: 150

174
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer
repair

Mss.Hist.Helv.XV SUI brown red, Kassels

755
II.233B 1750- brown/English red/rust, a
1800 little lead white or chalk (x 1)
(transcribed in
Stettler 1987:
48-9)
Orellana 1755: SP glove leather (x 1-2) almagra
107
Dossie 1758: vii- UK hot drying oil (soaked in) flake white, fat oil, colour
viii, 204, 205 (dried horizontally so the
paint evens out)
École 1759: 173- FR glue water (x 1) pumice stone brown red, lead white, nutoil pumice stone
5 or linseed oil (x 1, with large
knife)

Hallen 1761: 322 GE oil ground with red bole or greasy waxy oils from the rinsing
other ‘bad’ [=common, jar to keep moisture from the wall
simple] paint away from the paintings (applied
by some, to front and back)
Hallen 1761: 322 GE gelled parchment glue (x 1, with a oil ground with red bole or
knife) other ‘bad’ [=common, simple]
paint
Chomel 1767: FR glove glue water (x 1) pumice stone brown red, lead white, pumice stone
869 linseed or nut oil (x 1, large
knife)
Griselini and IT layer of glue (x 1) pumice stone ochre, little lead white (x 1) pumice
Fassadoni 1772:
269-70
Nieuwen NL glue from cuttings of leather well flattened pumice brown red in oil, siccative pumice stone
verlichter 1777: gloves, gelled and cold (x 1, with stone (red minium or lead white) (x
166-7 large thin knife) 1, with knife)
Le Pileur 1779: FR pumice stone glue, little honey lead white, little honey,
70 binder not specified

755
The recipe describes ‘Keßels Braun’. The meaning of this term is not entirely clear. See Stettler 1987: 48.

175
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer
repair

Dutens 1779: 62 FR blove glue black, ochre, white, little red

brown
Pernety 1781: 8 FR blue water (x 1) pumice stone brown red, lead white, nut oil pumice stone
or linseed oil (x 1, with large
knife)
Artist assistant UK size, or paste water (x 1) pumice stone oker, little lead white [oil] (x pumice stone
1785?: 93 1)
Golden cabinet USA size or paste-water (x 1) pumice stone okre in oil, lead white (x 1) pumice stone
1793: 112
Secrets 1801: FR eau de colle de gants (x 1) pumice stone brown red, little lead white, pumice stone
151-2 nut oil or linseed (x 1, with
large knife)
Ibbetson 1803: UK strong glue (brush) stiff paint, greatest part
11,1 whiting (x 2-3, plastered
[=with knife])
Ibbetson 1803: UK very thin starch (x 1) while wet rubbed with a proper thin colour (x 1)
11 rubber stone
Peale in Sully: UK pumiced and wet isinglass (x 1, with large spatula) colour (x 1, with spatula) flatten with spatula
1809-1873: 020 when coat is nearly dry
Sully 1809-71: US/ paste, Venice turpentine, little pumice paint (x 1-2) pumice
036-7 UK vermilion (x 1, applied with a
brush, flattened with palette knife)
Sully 1809-71 US/ wet surface with paste, little Venice turpentine, pumice stone lead white, [oil] (x 1-2, pumide stone
(recipe date UK pumice stone pinch of vermilion (x 1, palette palette knife)
1856): 156 knife)
Montabert 1829: FR copal, elemi resin, spike oil,
163 one third of this varnish, two
thirds poppy oil, white or ochre
(x 1, with palette knife)
Mérimée 1830: FR gGelled glove glue (x 1, with large pumice stone lead white (x 2-3, with a pumice (after 1st
242 knife with bent handle) knife) layer)
Arsenne and FR tepid glove glue (x 1, with large pumice lead white, little black or red pumice after first
Denis 1833: 335- knife with bent handle) ochre (x 2-3, with the same layer
7 knife)

176
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer
repair

Arsenne and FR lead white, one part oil, one

Denis 1833: 335- part turpentine essence,
7 applied to a wet canvas (x 1,
with large knife with bent
handle)
Fernbach 1834: GE linseed oil, lead white,
4-5 ‘Thonerde’ (Mannheimer
chalk) (x a couple of times,
with a spatula, palette knife.
First layer applied thinly)
Field 1835: 213 UK size earths and metallic oxides,
drying oils
Nyt magazin DK linseed oil varnish (litharge, polished with pumice copal-oil varnish/ amber varnish
1838: 261-2 linseed oil), slaked chalk or powder, sand or felt,
slaked pipe clay, ochre, umber, or instead with a
cologne earth, carbon black (x 2, piece of cork. Then
with a spatula with bent handle) washed.
Nyt magazin DK linseed oil varnish (litharge, polished with pumice copal-oil varnish/ amber varnish
1838: 261-2 linseed oil), slaked chalk or powder, sand or felt,
slaked pipe clay, ochre, umber, or instead with a
cologne earth (x 2, with large piece of cork. Then
spatula with bent handle) washed.
Nyt magazin DK linseed oil varnish, slaked pumice stone and
1838: 261-2 chalk, lead white (x 2-3, with water
large spatula with bent handle)
Sarsfield UK size of glove parings (x 1, large rubbed with pumice lead white (x 2-3, with a knife) pumiced (after first
Taylor/Merimee palette knife or trowel with blunt stone layer)
756
1839: 218-9 edge and as straight as a rule)
Fielding 1839: UK very thin starch (x 1) rubbed while wet with thin colour (x several times)
757
80-1 rubber stone
Cawse 1840: 21 UK tobacco-pipe clay, spanish
white (first mixed with water
and ‘sand and other impurities’
removed), drying oil, colour

756
English translation of Mérimée 1830 by Sarsfield Taylor, but with some differences.
757
Fielding quotes Ibbetson 1803.

177
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer
repair

(trowel or palette knife)

Susse 1845: 22 NL leather glue rumice stone oil, lead white, ochre (x 3-4) pumice stone
‘P.07’: 1847: UK pumiced as usual very weak size rubbed down whiting, lead white, umber,
7PP239L01 glue size, treacle, linseed oil
(x 4, with trowel)
‘P.09’: 1854: UK sized Ox Zinc, Meguilp
9PP015 (9PP014L16?: bees- wax,
turps, dble mastic vsh) (x 1,
with trowel)
‘P.09’: 1854: UK Ox Zinc, Meguilp
9PP017L01 [=9PP014L16: bees- wax,
turps, dble mastic vsh] (x 1,
with trowel)
C.W. Peale’s US/ wet, pumiced isinglass, water (x 1, with large required colour (x 1, with flatten with spatula
ground in Sully UK (wooden) spatula) spatula) when the coat is
1873: 035-6 nearly dry

Raycroft 1888: UK thin liquid glue (x 1) silver white, little ivory black,
25 [oil], turpentine (x 1-2,
second without turpentine)

6b two-layer oil-bound grounds for canvas 1550-1900

source support smoothing sizing layer smoothing first ground layer smoothing second ground layer smoothing third ground layer smoothing
repair

De Mayerne UK glue of clippings brown red or brown Flatten with a lead white, carbon
1620-44: 5 of leather or red from England (x pumice stone black, small [or smalt]
glue that is not 1) coals, little umber (x 1
too thick (x 1) or 2)

178
source support smoothing sizing layer smoothing first ground layer smoothing second ground layer smoothing third ground layer smoothing
repair

De Mayerne UK glue of clippings ochre burnt that flatten with a lead white, carbon
1620-44: 5 of leather or reddens in the fire pumice stone black, small [or smalt]
glue that is not (x 1) coals, little umber (x 1-
too thick (x 1) 2)

De Mayerne UK wetten brown red or brown polish lead white, carbon

1620-44: 5 the red from England (x black, small [or smalt]
canvas 1) coals, little umber (x 1-
2)
De Mayerne UK strong glue or bole, umber, oil (x remove all knots lead white, umber
1620-44: 87 leather 1, with ‘brossette’ by scraping with
clippings glue, or knife) a knife and
not too strong flatten with a
(x 1, with knife) pumice stone

De Mayerne UK strong glue (x 1, bole, umber (x 1) lead white, umber (x 1)

1620-44: 90 with brush,
then knife)
(cracks)
De Mayerne UK bole, umber (x 2-3) smalt, lead white, little
1620-44: 95 lake
De Mayerne UK strong glue bole, umber lead white, little umber rub with the lead white, little polish with a brush
1620-44: 96 pumice stone umber, smalt or pencil
and remove all
knots
De Mayerne UK bathe in liquid cut the knots yellow ochre (x 1, lead white, little ochre,
1620-44: 98v glove clippings of the canvas with spatula) minium or other
glue, cover large with a sharp competent colour; or
canvas with knife, pumice lead white, carbon
gelled glove stone black (x 1)
clippings glue
(with spatula) or
with warm glue
Pacheco 1649: SP pumice stone weak size, cold pumice stone linseed oil, Sevilla pumice stone oil, Sevilla clay, little
384-5 (x 1, with knife) clay (x 2, with a after both coats lead white if you wish
(translation knife) (x 1, with a knife)
Véliz 1986: 68)

179
source support smoothing sizing layer smoothing first ground layer smoothing second ground layer smoothing third ground layer smoothing
repair

Félibien 1676: FR glue water (x 1) pumice stone brown red, little pass the pumice lead white, little
407-8 to remove lead white to speed stone carbon black (x 1, with
knots up the drying, nut large knife)
or linseed oil 9x 1,
with large knife)
De la Fontaine FR rub with glue umber, brown red rub with pumice lead white, umber,
1679: 43-4 pumice stone (x 1, with iron knife) stone little carbon black
Dupuy du FR glue water (x 1) pumice stone brown red, Spanish one may again lead white, carbon
Grez 1699: to remove white, linseed or pass over the black (x 1)
243-4 knots nut oil (x 1, with pumice stone
trowel or knife)
Anonymous GE flour, linseed oil lead white, linseed rub with pumice lead white, Berlin blue,
[in Wiltschut (x 1) oil, painters varnish stone (after nut oil (x 1)
manuscript]: (x 2) each
1726-39: n.p. application)
[78 in pdf]
Chambers GE sized pumice stone ochre, drying oil, pumice stone lead white, charcoal pumice stone
1728, vol. 2: often some lead black (x 1)
735 white (x 1)
De la Hire FR gelled leather scrape with brown red, some pumice lead white, little brown
1730: 710 glue (with large the same siccative (normally red, little carbon black
knife) knife knife red minium) (x 1, (x 2)
with the same
knife)
Barrow 1735: UK layer of glue pumice stone oker, sometimes pumice-stone lead white, little
n.p. little lead white (x charcoal black (x 1)
1)
Chomel 1743: NL a glue pumice stone brown red, lead rubbed with lead white, charcoal
948 white, linseed oil pumice stone to black (x 1)
and nut oil (x 1, make it more
with large knife) even
Dossie 1758: UK hot drying oil drying oil, red oker ( hot drying oil lead white, oil, pumice stone,
203 x 2-3, applied when (brushed over as pigments (x 1) glass called
layer of hot drying long as it will ‘callender
oil is nearly dry) sink in) stone’

180
source support smoothing sizing layer smoothing first ground layer smoothing second ground layer smoothing third ground layer smoothing
repair

École 1759: FR glue water (x 1) pumice stone brown red, lead pumice stone lead white, little
173-5 white, nut oil or carbon black (x 1)
linseed oil (x 1, with
large knife)
Jombert/De FR glove clippings brown red, nut or lead white, brown red,
Piles 1766: glue, gelled and linseed oil, siccative little carbon black (x 2,
126-131 cold (x 1, with (ordinarily red with large knife)
large knife) minium or lead
white) (x 1, with
large knife)
Chomel 1767: FR glove glue water pumice stone brown red, lead pumice stone lead white, carbon
869 white, linseed or black (x 1)
nut oil (x 1, with
large knife)
Griselini and IT layer of glue (x 1) pumice stone ochre, little lead pumicee lead white, little
Fassadoni white (x 1) carbon black (x 1)
1772: 269-70
Watin 1772: FR glove leather glue, pumice stone brown red, nut oil, you may pass lead white, carbon
190-1 that is beaten to a litharge (x 1, with the pumice black, nut oil and
paste-like knife) stone linseed oil 1:1 (x 1, thin
(‘bouillie’) layer with brush)
consistency (x 1,
with large wooden
knife)
Valuable UK size (x 1) rub with brown-red, little rub with ponce lead white, charcoal
secrets 1775: ponce stone lead white, nut, or stone black (x 1)
133-5 linseed oil (x 1, with
large knife)
Nieuwen NL glove or leather well brown red in oil, remove surplus lead white, brown red, pumice stone
verlichter cuttings glue, flattened siccative (red from the back little charcoal black (x
1777: 166-7 gelled and cold (x pumice stone minium or lead with knife. 2, as little as possible )
1, with large thin white) (x 1, with the Pumice stone.
knife) same knife)
Le Pileur 1779: FR layer of glue (x 1) pumice stone ochre, oil, little lead pumice stone lead white and
69-70 white (x 1) charcoal (x 1)

181
source support smoothing sizing layer smoothing first ground layer smoothing second ground layer smoothing third ground layer smoothing
repair

Pernety 1781: FR glue water (x 1) brown red, lead lead white, little
08 white, nut oil or carbon black (x 1)
linseed oil (x 1, with
large knife)
Artist UK size, or paste pumice stone ochre, little lead pumice stone lead white, little
assistant water (x 1) white (x 1) charcoal black (x 1)
1785?: 93
Encyclopedie FR glove glue, pumice stone brown red, nut oil, you may pass lead white, carbon
méthodique consistency like litharge (x 1, with the pumice black, nut oil and
1789: 145 paste (‘bouillie’) knife) stone linseed oil 1:1 (x 1, light
(x 1, with large layer with brush)
wooden knife)
Golden USA size or paste- pumice- ochre in oil, white- pumice stone lead white, charcoal-
cabinet 1793: water (x 1) stone lead (x 1) black (x 1)
112
Maler- og DK middle strong scrape while brown-red, litharge, pumice stone pale white, coal black,
forgylder glove glue, wet, pumice linseed oil (x 1, with linseed oil (x 1, light
handbok, no beaten to froth when dry wooden knife) layer)
date [after (x 1, with
1794]: 70-1 wooden spatula)
Krünitz 1799, GE glove glue, pumice in all brown red, nut oil, pumice stone lead white, charcoal
volume 76: beaten to a directions litharge (x 1, with black, half nut oil, half
623-5 paste (‘Brey’) large wooden linseed oil (x 1, light
(x 1, with large spatula) layer)
wooden spatula)
Secrets 1801: FR glove glue pumice stone brown red, little pumice stone lead white, little
151-2 water (x 1) lead white, nut oil carbon black (x 1)
or linseed oil (x 1,
with large knife)
Simis 1801: NL drying oil, chalk (x smooth with light colour (x 1)
158 2) pumice stone
and water

182
source support smoothing sizing layer smoothing first ground layer smoothing second ground layer smoothing third ground layer smoothing
repair

Stöckel 1825: GE averagely strong pumice brown red, litharge, can be rubbed lead white, charcoal
181-3 glove glue, stone some oil varnish (x with pumice black, oil varnish (x 1,
beaten thick or 1, with large stone light layer)
into a ‘Brei’ (x 1, wooden spatula)
with large
wooden spatula)
Riffault 1826: FR glove leather pumice brown red, nut oil, can be rubbed lead white, carbon
183-4 glue, beaten into lightly litharge (x 1, with again with black, nut and linseed
a paste (‘bouillie’) large wooden knife) pumice stone oil 1:1 (x 1, brushed on)
(x until canvas
saturated, with
large wooden
knife)
Artist & UK size (x 1) rub with brown red, little rub again with lead white, charcoal
tradesman's pounce lead white, nut or pounce stone black (x 1, as little as
guide 1827: stone linseed oil (x 1, as possible)
38-9 thin as possible)
Montabert FR skin or pumice lead white, oil pumice with oil, lead white, other pumice
1829: 159-60 parchment glue, (linseed, nut or water colour (x 1-2)
gelled (x 1, with other) (x 1)
spatula or
palette knife)
Montabert FR skin or pumice yellow or red ochre, pumice with oil, lead white, other pumice
1829: 159-60 parchment glue, oil (linseed, nut or water colour (x 1-2)
gelled (x 1, with other) (x 1)
spatula or palette
knife)
Vergnaud FR glove leather pumice brown red, nut oil, can be rubbed lead white, carbon
1831: 137-8 glue, beaten lightly in all litharge (x 1, light again with black, nut and linseed
into a paste directions layer with knife) pumice stone oil 1:1 (x 1, light layer
(‘bouillie’) (x with brush)
until canvas
saturated, with
large wooden
knife)

183
source support smoothing sizing layer smoothing first ground layer smoothing second ground layer smoothing third ground layer smoothing
repair

Complete UK thin glue (x 1) lead white, red lead white, linseed oil,
guide 1841: 41 lead, linseed oil, turpentine, sugar of
turpentine (x 1) lead (x 1)
Hampel 1846: GE wash rye flour, water (x red bole, or light lead white, little ochre wash with finely ground pumice
758
22-5 with 1, with wooden English red, lnseed and black or lead white sponge with stone, linseed oil
sponge spatula, which oil varnish (x 1 or 2 and dark ochre (x 2) potash, rinse varnish, lead white (x
with has first been if not smooth) with tepid 1)
potash soaked in linseed water
and rinse oil for 24 hours to
with become
tepid slippery/smooth
water (‘Geschmeidig’)
Francis 1854: UK thin glue (x 1) lead white, red lead white, linseed oil,
70 lead, linseed oil, turpentine, sugar of
turpentine (x 1) lead, colouring matter
(x 1)
Hopman 1856: NL boiled oil, lead rub smooth with yellow ochre, white,
135-6 white, washed pumice stone black (x 2, spreading first
chalk, yellow wax, layer with badger brush,
turpentine (x 2) applying second layer
with dabbing
movement)
Hopman 1856: NL boiled oil, lead rub smooth with yellow ochre, white,
135-6 white, washed pumice stone black (x 2, spreading first
chalk, yellow wax, layer with badger brush,
turpentine, finely applying second layer
pounded and with dabbing
soaked pipe clay (x movement)
2)
‘P.04’: UK 1st color oil, raw putty, lead white, lead white, putty
1871:P4P140L linseed oil, whiting, patent dryers
01, patent dryers, keep
(P4P141L13, 6-12 months before
P4P142L01) applying

758
This recipe is for ‘alla prima’ painting. If this technique is not employed, the final pumice powder containing layer is omitted.

184
source support smoothing sizing layer smoothing first ground layer smoothing second ground layer smoothing third ground layer smoothing
repair

Spon 1879: UK lead white, whiting, scrape excess white-lead, whiting, repeat rubbing
113 raw oil, boiled oil (x from the back. burnt ochre, small with pumice-
2, with brush, Rub after quantity of pumice stone and water
palette knife or second coat is stone, gold size, raw
trowel) dry with light oil, turpentine (x 1-3)
piece of pumice-
stone and water

6c Aqueous binding media (animal glue, flour paste, casin) or emulsion grounds that are not covered by a second oil-bound ground layer

source support smoothing sizing layer smoothing first ground layer smoothing isolation layer second ground layer isolation layer
repair

Borghini 1584 IT glue (x 1) mestica (x 2)

(1730): 138
Borghini 1584 IT Volterra gesso, fine flour (‘
(1730): 138 fiore di farina’), glue and oil
(x 1, with iron blade)
Bate 1633 UK smooth with size, little honey whiting, size, little honey (x
759
(1654 ): 167 sleekstone (x 1) 1)
Lebrun 1635 FR parchment glue and oil
(Merrifield priming (x 1)
760
1849): 820
‘Recipe book’, NL glue, red bole (x 1)
Ms. Frans Hals
Museum
1650-1700: 5

759
Talley 1981 transcribed the recipe from the first 1633 edition. The recipe text was checked against the 1654 edition.
760
The first line of this recipe designates special purpose: ‘to prime a canvas quickly in a manner that one may paint the same day that it is primed’.

185
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer second ground layer isolation layer
repair

Palomino SP glue cernada: sifted ashes and oil (x 1, with

1715, 1724, sizing from clippings (x 1) brush)
vol. 2: 34-35
(translation
Véliz 1986:
152)
Müller 1750- GE wheat flour,
1800: 65 water, linseed
(transcribed in cakes (x 1)
Lehmann
761
2002: 50)
Le Pileur FR pumice stone glue, little honey lead white, little honey (x 1)
d’Apligny (x 1)
1779: 70
Golden USA pumice stone good size, a little whiting, size, little honey (x
cabinet 1793: honey (x 1) 1)
112
Transactions UK calcined and crushed bones first coat calcined and crushed raw linseed or poppy
1806: 85-9 of sheep's trotters, pumiced bones of sheep's oil before painting
wheaten flour, (x 2) trotters, wheaten flour,
pigment (x 1)
Sully: 1809- US/ glue, water, whiting, oil (x 1 pumice stone
1871: 019 UK on damp canvas, applied may be used
while warm with a brush)
Delonprey in US/ paste, lead white, oil,
Sully 1809-71 UK litharge (x 1, with palette
(recipe date knife)
1826): 036
Sully 1809-71 US/ size (x 1) whiting such as used by
(recipe date UK gilders (x 1, cracked)
1840): 106-7

761
The title of this recipe is ‘Wenn man Leinen anstreigen wil’, which probably translates as ‘if you want to paint on linen’. The very short recipe does not make clear whether the paint to be
applied is oil paint. The context of the book, a workshop book with a wide variety of recipes, does allow for the possibility, but not the certainty, that the recipe was part of instructions for oil
painting.

186
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer second ground layer isolation layer
repair

Sully: 1809- US/ lead white, linseed oil, pumice stone

1871 (recipe UK starch, water (x 2, second (between coats)
date 1849): coat with a small
134-5 proportion of starch, with
spatula)
Sully 1809-71 US/ lead white, skimmed milk
(recipe date UK
1855): 156
Cawse 1822: UK pumiced calcined ground sheep’s sandpaper calcined ground raw linseed oil or
762
9-11 trotters, wheat flour (x 2, sheep's trotters, wheat poppy oil
first layer rubbed in with flour, colour (x 1-2)
pumice stone, second
applied with brush)
Smith 1825: FR calcined ground sheep’s pumice calcined ground
763
357-8 trotters, wheat flour (x 1, sheep’s trotters, wheat
thin layer) flour, base colour (x 1-
2)
Bouvier 1827: FR glued pumiced pipe clay, yellow bright pumice lightly
577-80 ochre, red bright ochre,
glue [starch or flour] (x 4,
with large varnish brush)
Montabert FR soft glue, white (x 1) oil rubbed in (x 1)
1829: 158
Montabert FR absinth, parchment glue, chalk, little decoction of
1829: 167-168 garlic or honey (x 1-2, applied thinly black liquorice
sliced onion with a spatula or a brush) sugar
Montabert FR absinth, parchment glue, lead white, decoction of
1829: 167-168 garlic or little honey (x 1-2, applied black liquorice
sliced thinly with a spatula or a sugar
onion brush)

762
Cawse quotes Grandi 1806
763
Smith repeats Grandi 1806

187
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer second ground layer isolation layer
repair

Montabert FR absinth, parchment glue, pipe clay, decoction of

1829: 167-168 garlic or little honey (x 1-2, applied black liquorice
sliced thinly with a spatula or a sugar
onion brush)
Montabert FR absinth, parchment glue, chalk, lead decoction of
1829: 167-168 garlic or white, pipe clay, little black liquorice
sliced honey (x 1-2, applied thinly sugar
onion with a spatula or a brush)
Montabert FR absinth, wheat flour, powder of decoction of
1829: 167-168 garlic or calcined bones, pumice black liquorice
sliced onion powder (x 1) sugar
Roberson UK linseed oil, India rubber
1831: last [caoutchouc], white rosin,
page litharge, copperas
Arsenne and FR starch or beautiful flour,
Denis 1833: pipe clay, yellow-orange
335-7 tone (x 3-4, large brush like
a varnish brush)
Bickes 1834: GE glue water, pumice stone white chalk, glue water (x horsetail or
133-4 cooled to a gel (x 8-10) pumice stone
1, with spatula)
Sarsfield UK Ddstemper (best use weak pumiced merely oil, become
Taylor/ size, oil, mucilage of linseed viscous by exposure
Merimee meal) (x 2) to the air
1839: 220-221
‘P.07’: 1842-8 UK pumiced as very weak size pumiced whiting, lead white, umber,
(recipe date usual glue size, treacle, linseed oil
1847): (x 4, with a trowel)
7PP239L01
Dietrich 1871: GE rye flour (x 1-2) pumice stone slaked chalk, glue water, sanded
21-2 some honey (x until not a
single hole can be seen)

188
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer second ground layer isolation layer
repair

Sully 1873: US/ lead white, skimmed milk (x pumice stone lead white, skimmed
024 UK 1) milk, little vermilion (x 1)
764
Sully 1873: 34- US/ lead white, skimmed milk (x pumice stone lead white, skimmed linseed oil
5 UK 3) milk, little vermilion (x 1)
Sully 1873: 34- US/ lead white, skimmed milk (x pumice stone lead white, skimmed
5 UK 1) milk, little vermilion (x 1)
Grace 1881: UK flake white, well-beaten egg
765
87-8 (stale is best), thin if needed
with French white vinegar
and water (x 1-2
approximately)
Technische GE Cologne glue or Cologne glue or hare skin pumice stone, shellac or thin oil
Mitteilungen hareskin glue (x glue, slaked chalk, water paint applied
nr. 25 (1886): 1, canvas soaked or equal parts of chalk and before painting
39 in the warm glue) China clay, or just China clay on the ground
(x 3-4, 1st layer with very
little chalk, last layer with
more glue added to smooth
it. All layers applied with a
brush, first layers dabbed on,
last brushed on)
Technische GE thick leadwhite in oil, chalk,
Mitteilungen glue, clay, caoutchouc in
nr. 25 (1886): benzine
39
Vibert 1892: UK washed zinc white, casein paste rubbed with retouching zinc white, casein paste
186-8 with [made with casein or glass paper varnish [made with casein or
benzine cheese, water, ammonia, cheese, water,
glycerin] (x 1, with swallow- ammonia, glycerin] (x
tail brush) 2-3, with brush)

764
Only if a ‘resisting ground’ [as opposed to an absorbent ground] is wanted.
765
Before painting, the whiteness of the ground is reduced with a thin was of colour (yellow ochre and ivory black). Grace advises to change the tone of this wash according to the area of the
painting. Because of the fact that this layer follows the design of the painting, it is considered to be part of the painting stage and not in the ground layer build-up. In the case of an oil-bound
ground, this wash consists of oil paint thinned with ‘benzoline’ or turpentine. In the case of a distemper ground, it consists of tube oil colours thinned with benzoline, or a thin wash of
watercolour paint. Grace 1881: 88.

189
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer second ground layer isolation layer
repair

Technische GE chalk ground boiled linseed oil

Mitteilungen
nr. 20 (1895):
1-2
Technische GE milk (canvas burnt chalk, water,
Mitteilungen soaked in milk) beeswax, linseed oil, white
nr. 9 (1897): 2 cheese

6d Aqueous or emulsion-bound first ground layers with an oil-bound ground layer on top

source support smoothing sizing layer smoothing first ground layer smoothing isolation layer second ground layer smoothing third ground layer
repair

Vasari 1550 IT soft glue (x 3- flour paste with nut oil, soft size (x 1-2) ‘the priming’
(1568): 53 4) lead white (x 1, with
knife)
‘Ms. Sloane UK size white chalk, glue, ochre, oil, little minium burnt sheep’s bones, little
1990’ 1623- honey (x 1) to speed up drying (x 1) lead white to give body,
44: 78/79 massicot to speed up drying
(x 2)
‘Ms. Sloane UK size white ground with [lead] white, little
1990’ 1623- glue, little honey (x 1-2, minium
44: 78/79 with brush)
Pacheco SP size from same size, sifted gesso pumice primed (with a brush)
1649: 383-4 glover's scraps (x 2, with a knife) stone
(translation (brush)
Véliz 1986:
68)
Pacheco SP glue size, siftes ashes pumice red earth, linseed oil
1649: 383-4 (with brush and knife) stone
(translation
Véliz 1986:
68)
Pacheco SP size from same size, sifted gesso lead white, red lead,
1649: 383-4 glover's scraps (x 2, with a knife) charcoal black, linseed

190
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer second ground layer smoothing third ground layer
repair

(translation (with brush) oil (with a brush)

Véliz 1986:
68)
Salmon 1672: UK being made size, whiting ground (x scrape lead white, oyl (x 1)
141 smooth 2-3) smooth
Orlandi 1719: IT soft glue from glove polished with colour with a little
480 clippings, gesso (x 1, pumice stone, earth, raw nut oil (x 1,
766
with spoon ) bathed in the with spoon or with
aforementioned brush)
glue.
Smith 1756: UK rub smooth glew, honey (x whiting, size (x 1) white-lead, little black,
58 with 1) linseed-oil (x 1)
sleekstone
Sully 1809-71 US/ hard yellow soap, coat of paint without
(recipe date UK water, lamp black, the soap (x 1)
1828): 046 yellow ochre or
whiting, strong drying
oil (x 1)
Mérimée FR pumice stone distemper (with very pumice stone very liquid layer in oil
1830: 244-245 weak glue, little oil, (x 1)
much mucilage of
linseed meal) (x 1-2)
Cawse 1840: UK parchment clippings 1st coat: well- coloured drying oil (x 1)
20-1; 26 size, whitening, (tint) (x surfaced
2, spread with large pumice-stone,
palette knife when 2nd coat:
nearly cool) Plaster of hand, dipped
Paris may be added in water
767
Hundertpfund GE flour, pipe clay oil paint, lead white, pumice stone flour (sieve on top and
1847: 125-7 (‘Haugenerde), water turpentine oil (x 2, (after first beat off the superfluous
(x until no more holes second layer without coat) flour) (applied while
are visible) turpentine and applied former layer is wet)
thinly with badger

766
The mention of a ‘spoon’ for ground application is puzzling. The Italian word employed in the original text is ‘cucciara’.
767
In the English 1849 translation Haugerde is translated as pipe clay. Hundertpfund 1849: 105-9

191
source support smoothing sizing layer smoothing first ground layer smoothing isolation layer second ground layer smoothing third ground layer
repair

brush)

768
Hundertpfund GE flour, pipe clay oil paint (x 1)
1847: 127-30 (‘Haugerde’), water (x 3-
4)
Hundertpfund UK boiled flour, pipeclay, oil colour of lead white pumice-stone flour sifted over and
1849: 105- cold water, (x 3-4, until and oil of turpentine (x (after first superfluous dusted off
769
9 no more pores are 2, second without coat) (straight after application
visible) turpentine and applied of leadwhite paint)
with a badger brush)
Knowlton UK glue, water, whiting, lead white, spirits of
1879: 29-30 soap turpentine (oil)
Knowlton UK water, flour, pipe-clay lead white, oil of scrape flour, sifted over and
770
1879: 30-1 (x 1) turpentine [oil] (x 2, dusted off (while former
second without layer still wet)
turpentine and applied
with badger brush)
Grace 1881: UK size, whiting flake white,
771
87-8 whiting/finely ground
chalk, linseed-oil
(diluted with spirits of
turpentine if becomes
thick by evaporation) (x
1-2, with large brush)

768
In the English 1849 translation ‘Haugerde’ is translated with pipe clay. Hundertpfund 1849: 105-9
769
Translation of Hundertpfund 1847.
770
Summary of Hundertpfund 1847 or 1849.
771
Before painting, the whiteness of the ground is reduced with a thin was of colour (yellow ochre and ivory black). Grace advises to change the tone of this wash according to the area of the
painting. Because of the fact that this layer follows the design of the painting, it is considered to be part of the painting stage and not in the ground layer build-up. In the case of an oil-bound
ground, this wash consists of oil paint thinned with ‘benzoline’ or turpentine. In the case of a distemper ground, it consists of tube oil colours thinned with benzoline, or a thin wash of
watercolour paint. Grace 1881: 88.

192
 source support smoothing sizing layer smoothing first ground layer smoothing isolation layer second ground layer smoothing third ground layer
repair

Church 1890: UK glue (x 1) whitening, size (x 1) lead white, linseed oil

26 (x 1)
Church 1890: UK glue (x 1) whitening, size (x 1) lead white, linseed oil zinc white, drying oil (x 1,
26 (x 1) thin)
Church 1890: UK glue (x 1) whitening, size (x 1) lead white, linseed oil zinc white, dusted on
26 (x 1)
Vibert 1892: UK washed zinc white, casein paste rubbed with retouching zinc white, casein paste
186-8 with [made with casein or glass paper varnish [made with casein or
benzine cheese, water, cheese, water,
ammonia, glycerin] (x ammonia, glycerin] (x
1) 2-3)

6e Nineteenth century innovations regarding binding media for grounds for canvas preparation (selected from table 6a to 6d)

source support smoothing sizing layer first ground layer smoothing isolation layer second ground layer smoothing isolation layer third ground layer
repair

Transactions UK calcined and crushed first coat calcined and crushed raw linseed or poppy
1806: 85-9 bones of sheep's pumiced bones of sheep's oil before painting
trotters, wheaten trotters, wheaten
flour (x 2) flour, pigment (x 1)
Sully: 1809- US/ glue, water, whiting, pumice
1871: 019 UK oil (x 1 on damp stone may
canvas, applied while be used
warm with a brush)
Delonprey in US/ paste, lead white,
Sully 1809-71 UK oil, litharge (x 1, with
(recipe date palette knife)
1826): 036
Sully 1809-71 US/ hard yellow soap, coat of paint without
(recipe date UK water, lamp black, the soap (x 1)
1828): 046 yellow ochre or
whiting, drying oil (x
1)

193
source support smoothing sizing layer first ground layer smoothing isolation layer second ground layer smoothing isolation layer third ground layer
repair

Sully 1809-71: US/ lead white, skimmed

156 UK milk
Cawse 1822: 9- UK calcined ground sandpaper calcined ground raw linseed oil or
772
11 sheep’s trotters, sheep's trotters, poppy oil
wheat flour (x 2, first wheat flour, colour
layer rubbed in with (x 1-2)
pumice stone,
second applied with
brush)
Smith 1825: FR calcined bones of pumice calcined bones of
773
357-8 sheep’s trotters, sheep’s trotters,
wheat flour (x 1, thin wheat flour, base
layer) colour (x 1-2)
Montabert FR copal, elemi resin,
1829: 163 spike oil,
caoutchouc, copaiva
balsam, white or
ochre (x 1, with
palette knife)
Montabert FR absinth, parchment glue, decoction of
1829: 167-168 garlic or slice chalk, little honey black licquorice
of onion sugar
Montabert FR absinth, parchment glue, lead decoction of
1829: 167-168 garlic or slice white, little honey black licquorice
of onion sugar
Montabert FR absinth, parchment glue, pipe decoction of
1829: 167-168 garlic or slice clay, little honey black licquorice
of onion sugar
Montabert FR absinth, parchment glue, decoction of
1829: 167-168 garlic or slice chalk, lead white, black licquorice
of onion pipe clay, little sugar
honey

772
Cawse quotes Grandi 1806
773
Smith repeats Grandi 1806

194
source support smoothing sizing layer first ground layer smoothing isolation layer second ground layer smoothing isolation layer third ground layer
repair

Montabert FR absinth, wheat flour, powder decoction of

1829: 167-168 garlic or slice of burnt bones, black licquorice
of onion pumice powder sugar
Mérimée 1830: FR pumice distemper (with very pumice very liquid layer in
244-245 stone weak glue, little oil, stone oil (x 1)
much mucilage of
linseed meal) (x 1-2)
Roberson 1831: UK linseed oil, india
last page rubber [caoutchouc],
white rosin, litharge,
copperas
Sarsfield UK distemper (best use pumiced merely oil,
Taylor/ weak size, oil, become viscous
Merimee 1839: mucilage of linseed by exposure to
220-221 meal) (x 2) the air
Hampel 1846: GE wash with rye flour, red bole, or light lead white, little wash with finely ground pumice
774
22-5 sponge with water (x 1, English red, lnseed ochre and black or sponge with stone, linseed oil varnish,
potash and with wooden oil varnish (x 1 or 2 if lead white and dark potash, lead white (x 1)
rinse with spatula, which not smooth) ochre (x 2) rinse with
tepid water has first been tepid water
soaked in
linseed oil for
24 hours to
become
slippery/smoot
h
(‘Geschmeidig’
)

774
This recipe is for ‘alla prima’ painting. If this technique is not employed, the final pumice powder containing layer is omitted.

195
source support smoothing sizing layer first ground layer smoothing isolation layer second ground layer smoothing isolation layer third ground layer
repair
775
Hundertpfund GE flour, pipe clay oil paint, lead white, pumice flour (sieved over and
1847: 125-7 (‘Haugerde’), water a little turpentine oil stone (after superfluous flour beaten
(x until no more (x 2. second layer first off) (applied while former
pores are visible) without turpentine application) layer is wet)
and applied thinly
with badger brush)

‘P.07’: 1847: UK pumiced as very weak size whiting, lead white,

7PP239L01 usual umber, glue size,
treacle, linseed oil (x
4, with trowel)

Hundertpfund UK flour, cold water, oil colour of lead pumice- flour sifted over and
776
1849: 105-9 pipeclay (x 3-4, until white and oil of stone (after superfluous dusted off
no more pores are turpentine (x 2, first layer) (straight after application
visible) second without of leadwhite paint)
turpentine and
applied with a
badger brush)

‘P.09’: 1854: UK sized Ox Zinc, Meguilp

9PP015 (9PP014L16?: bees-
wax, turps, dble
mastic vsh) (x 1, with
trowel)
‘P.09’: 1854: UK Ox Zinc, Meguilp
9PP017L01 (9PP014L16?: bees-
wax, turps, dble
mastic vsh) (x 1, with
trowel)

775
In the English 1849 translation Haugerde is translated as pipeclay. Hundertpfund 1849: 105-9
776
Translation of Hundertpfund 1847.

196
source support smoothing sizing layer first ground layer smoothing isolation layer second ground layer smoothing isolation layer third ground layer
repair

Hopman 1856: NL boiled oil, lead rubbed yellow ochre, white,

135-6 white, washed chalk, smooth black (x 2, spreading
yellow wax, with pumice first layer with
turpentine (x 2) stone badger brush,
applying second
layer with dabbing
movement)
Hopman 1856: NL boiled oil, lead rubbed yellow ochre, white,
135-6 white, washed chalk, smooth black (x 2, spreading
yellow wax, with pumice first layer with
turpentine, crushed stone badger brush,
fine and soaked pipe applying second
clay (x 2) layer with dabbing
movement)

‘P.04’: UK 1st color oil, raw putty, lead white, lead white, putty
1871:P4P140L0 linseed oil, whiting, patent dryers
1, (P4P141L13, patent dryers, keep
P4P142L01) 6-12 months before
applying

Sully 1873: 024 US/ lead white, skimmed pumice lead white, skimmed
UK milk (x 1) stone milk, little vermilion
(x 1)

777
Sully 1873: 034- US/ lead white, skimmed pumice lead white, skimmed linseed oil
5 UK milk (x 3) stone milk, little vermilion
(x 1)

777
Only if a ‘resisting ground’ [as opposed to an absorbent ground] is wanted.

197
source support smoothing sizing layer first ground layer smoothing isolation layer second ground layer smoothing isolation layer third ground layer
repair

Sully 1873: 034- US/ lead white, skimmed pumice lead white, skimmed
5 UK milk (x 1) stone milk, little vermilion
(x 1)

Knowlton 1879: UK glue, water, whiting, lead white, spirits of

29-30 soap turpentine (oil)
Knowlton 1879: UK water, flour, pipe- lead white, oil of scrape flour, sifted over and
778
30-1 clay (x 1) turpentine [oil] (x 2, dusted off (while former
second without layer still wet)
turpentine and
applied with badger
brush)
Spon 1879: 113 UK 0 lead white, whiting, rub with white-lead, whiting, repeat
raw oil, boiled oil (x light piece burnt ochre, small rubbing
2, with brush, of pumice- quantity of pumice with
palette knife or stone and stone, gold size, raw pumice-
trowel) water oil, turpentine (x 1-3) stone and
water

Grace 1881: 87- UK flake white, well-

779
8 beaten egg (stale is
best), thin if needed
with French white
vinegar and water (x
1-2 approx.)

778
Summary of Hundertpfund 1847 or 1849.
779
Before painting, the whiteness of the ground is reduced with a thin was of colour (yellow ochre and ivory black). Grace advises to change the tone of this wash according to the area of the
painting. Because of the fact that this layer follows the design of the painting, it is considered to be part of the painting stage and not in the ground layer build-up. In the case of an oil-bound
ground, this wash consists of oil paint thinned with ‘benzoline’ or turpentine. In the case of a distemper ground, it consists of tube oil colours thinned with benzoline, or a thin wash of
watercolour paint. Grace 1881: 88.

198
source support smoothing sizing layer first ground layer smoothing isolation layer second ground layer smoothing isolation layer third ground layer
repair

Technische GE Thick leadwhite in

Mitteilungen oil, chalk, glue, clay,
nr. 25 (1886): caoutchouc in
39 benzine

Church 1890: UK glue (x 1) whitening, size (x 1) lead white, linseed zinc white, drying oil (x 1,
26 oil (x 1) thin)

Church 1890: UK glue (x 1) whitening, size (x 1) lead white, linseed zinc white, dusted on
26 oil (x 1)

Vibert 1892: UK washed with zinc white, casein rubbed with retouching zinc white, casein
186-8 benzine paste [made with glass paper varnish paste [made with
casein or cheese, casein or cheese,
water, ammonia, water, ammonia,
glycerin] (x 1, with glycerin] (x 2-3, with
swallow-tail brush) brush)
Technische GE milk (canvas burned chalk,
Mitteilungen soaked in milk) beeswax, linseed oil,
nr. 9 (1897): 2 white cheese

199