Chambers 1728/I

Efraim Chambers, Cyclopædia: Or, An Universal Dictionary of Arts and Sciences; containtg The Deffinitions of the Terms; And Accounts of The Things signify’d thereby, In the several Arts, Both Liberal and Mechanical, And the several Sciences, Human and Divine: The Figures, Kinds, Properties, Productions, Preparations, and Uses, of Things Natural and Artificial, The Rise, Progress, and State of Things Ecclesiastical, Civil, Military, and Commercial: With the several Systems, Sests, Opinions, &c. among Philosophers, Divines, Mathematicians, Physicians, Antiquaries, Criticks, &c. I, London [James and John Knapton – John Darby – Daniel Midwinter, & all.] 1728.

p. 142

Calx

CALX, literally signifies, Lime; or a Stone burnt, or calcin’d in a Kiln for that Purpose, to be us’d in the making of Mortar, &c. See LIME, MORTAR, &c.

p. 228

Distemper

DISTEMPER, is also us’d in Painting, for the working up of Colours with something else besides bare Water, or Oil. See COLOUR.

If the Colours are prepar’d with the former of these, that Kind of Painting is call’d Limning; and if with Oil, it is call’d Painting in Oil, and simply Painting. See LIMNING, and PAINTING.

p. 98

Fresco

FRESCO, a kind of Painting; perform’d on fresh Plaister; or on a Wall laid with Mortar not yet dry; and with Water Colours. See PAINTING.

This Sort of Painting has a great Advantage: By its incorporating with the Mortar, and drying along with it, it is render’d extremely durable; and never fails or falls, but along with it. The Italians, from whom we borrow the Term, call it a Fresco: Vitruvius, lib. 7. c. 3. calls it Udo Sectorio. [sic!]

Painting in Fresco is very antient; having been practiced in the earliest Ages of Greece and Rome.

It is chiefly performed on Walls and Vaults, newly plaister’d with Lime and Sand: But the Plaister is only to be laid, in proportion as the Painting goes on; no more being to be done at once, than the Painter can dispatch in a Day, while it is dry [sic!].

Before he begins to paint, a Cartoon or Design is usually made on Paper; to be calk’d, and transfer’d to the Wall, about half an Hour after the Plaister is applied.

The Antients painted on Stuck; and we may remark in Vitruvius, what infinite Care they took in making the Incrustation or Plaistering of their Buildings to render them beautiful and lasting: Tho’ the modern Painters find a Plaister made of Lime and Sand preferable thereto; both as it does not dry so hastily; and as being a little brownish, it is fitter to lay Colours on, than a Ground so white as Stuck.

In this kind of Painting, all the Compound and Artificial Colours, and almost all the Minerals are set aside; and scarce any thing us’d but Earths; which are capable of preserving their Colour, defending it from the burning of the Lime, and resisting its Salt, which Vitruvius calls its Bitterness.

For the Work to come out in all its Beauty; the Colours must be laid on quick, while the Plaister is yet moist: Nor must they ever be retouch’d, dry, with Colours mix’d up with the White of an Egg, or Size, or Gum, as some Workmen do; by reason such Colours grow blackish: Nor do any preserve themselves, but such as were laid on hastily at first.

The Colours us’d, are White made of Lime slack’d long ago, and white Marble Dust; Oker, both red, and yellow; Violet Red; Verditer; Lapis Lazuli; Smalt; Earth Black, &c. All which are only ground, and work’d up with Water; and most of them grow brighter and brighter, as the Fresco dries. See COLOUR, WHITE, BLACK, VERDITER, LAPIS, &c.