PAINTED LADY 



5924 



PAINTING 



modern times paints were ground 

 with hand mullers on hollow stones 

 or with primitive pestles and 

 mortars. Pigment-grinding is now 

 largely effected in horizontal, edge- 

 runner, or conoidal mills, either dry 

 or wet, the mixtures being made 

 ready in mills with triple rolls. 

 Oil-paints usually, require thinning 

 down with turpentine, but for 

 small work ready-mixed paints are 

 procurable. 



The factors considered in esti- 

 mating the quality and suitability 

 of paints, apart from tint, include 

 body or opacity, covering power, 

 drying power, and permanence. 

 One quality may cover a large 

 surface with an opaque coating ; 

 another, sometimes merely because 

 less finely ground, may need for 

 the same effect a thicker coat or 

 several coats. Drying power as 

 well as elasticity depends upon 

 the medium. 



Pigments are of mineral or or- 

 ganic origin. The former may be 

 chemically elements, compounds, 

 or mixtures, natural or artificial. 

 Their durabib'ty often varies with 

 the fineness of the grinding, hence 

 the excellence of lampblack and 

 sublimed lead. They are not 

 equally effective in all media ; the 

 opacity of whitening in water dis- 

 appears when it is mixed with oil. 

 Mixing recipes differ according to 

 whether paint is required for wood- 

 work, iron, stucco, or cement. The 

 proportions vary greatly ; in 100 

 parts of red lead paste there are 

 93J red lead and 6 oil, whereas 

 20 parts of lampblack need 80 of 

 oil. White lead, because of its 

 combined opacity and covering and 

 drying power, is used as a base in 

 many common oil-paints ; by the 

 admixture of one or more other 

 pigments, called stainers, an ample 

 colour-range is obtained. As it is 

 poisonous, it is often replaced by 

 lithopone or by zinc white. 



Besides their colouring power, 

 paints subserve the purpose of 

 preservation, by preventing rust 

 in metals, decay in timber, and the 

 like. When other properties are 

 desired, appropriate substances are 

 introduced. Paints become water- 

 proof or damp-resisting by adding 

 silica dust, shellac, or asphalt ; fire- 

 proof, by adding asbestos, pow- 

 dered glass, or boric acid ; wash- 

 able, by adding casern or soda 

 silicates ; anti-corrosive, by adding 

 resins and the like ; anti-fouling, 

 by introducing copper oxides or 

 arsenical compounds for destroy- 

 ing marine organisms ; luminous, 

 by adding so-called phosphorescent 

 substances, such as calcium tung- 

 state. Paints containing no oil 

 may be mixed with water, cellu- 

 loid, cement, glue, spirit, or tar. 



Enamel paints consist of pigments 

 finely ground in resinous varnishes 

 and turpentine. Gold paint and 

 other glittering preparations are 

 made with bronze powders and 

 resinous varnishes ; so-called silver 

 paint often has an aluminium base. 



Artists' colours do not contain 

 white lead. They are put up in 

 cakes or pastilles, which are ground 

 and mixed on the palette, in me- 

 tallic tubes, or in earthenware pans. 

 Water-colours are mixed with gum- 

 water, and when prepared moist 

 they may contain glycerin or honey. 

 For tempera the medium is gela- 

 tinous ; for fresco, baryta-water or 

 lime-water ; for pastel, whitening, 

 gypsum, or china. See Colour 

 Mixing ; Lake ; Pigment ; consult 

 also Materials of the Painter's Craft 

 in Europe and Egypt, A. P. Laurie, 

 1910 ; Painters' Colours, Oils and 

 Varnishes, G. H. Hurst, 5th ed. 

 1913 ; Paints and Varnishes, A. S. 

 Jennings, 1920. 



Painted Lady (Pyrameia car- 

 dui). British butterfly of the 

 family Nymphalidae. It has 

 tawny-orange wings heavily 

 blotched with black and spotted 

 with white. The stout grey -green 

 or blackish caterpillar is protected 

 by short, branched spines ; it 

 feeds upon various plants, chiefly 

 thistles. In some years it is exceed- 

 ingly abundant, the excess above 

 the normal being due to great 



migrations, probably from N. 

 Africa, whence they swarm to 

 many parts of the world. See 

 Butterfly, colour plate. 



Painters' Colic. Severe form 

 of colic occurring in the course of 

 chronic lead poisoning (q.v.). 



Painters' OR PAINTER-STAINERS' 

 COMPANY, THE. London city livery 

 company. In the 15th century a 

 guild of S. Luke, 

 it was granted 

 charters in 1581 

 and 1685, and its 

 minute books go 

 back to 1683. Its 

 freemen include 

 Sir Peter Lely, 

 Sir Godfrey 

 Kneller, and Sir 

 Joshua Reynolds. The original 

 hall, bequeathed to the company 

 by Sir John Browne, Serjeant 

 painter to Henry VIII, was re- 

 built by Wren, 1668, and enlarged 

 in 1880 and 1916. The doorway is 

 attributed to Grinling Gibbons. 

 Among the treasures of the com- 

 pany is a loving-cup presented by 

 William Camden, in memory of 

 his father, Sampson Camden, who 

 was a liveryman. The hall is at 

 9, Little Trinity Lane, Upper 

 Thames Street, E.C. See Some 

 Account of the Painters, otherwise 

 Painter-Stainers, J. G. Grace, 1880; 

 The Worshipful Company of 

 Painters, W. H. Pitman, 1906, 



Painters' Company 

 arms 



Haldane MacFall, Author of A History of Painting 



This Encyclopedia contains biographies of all the world's great 



painters, e.g. Constable ; Gainsborough ; Raphael ; Rembrandt ; 



Titian ; Turner ; and includes some hundreds of illustrations of 



their works. See also A rt ; Drawing ; Miniature 



Painting, or rather the craft of 

 painting, as we know it to-day, 

 begins with the early Italians. 

 From the ancients we have no 

 masterpieces, though these must 

 have been as astounding as their 

 sculptures the work of the mere 

 journeymen painters in the Greco- 

 Egyptian mummy-portraits of A.D. 

 200 suggests a wonderful achieve- 

 ment. 



Prehistoric and antique painting 

 were done with coloured earths. 

 In, Egypt painting was done with 

 distemper (colour powders mixed 

 with water and fixed with gum). 

 The Greeks must have created 

 great paintings which are wholly 

 lost to us they worked in dis- 

 temper like the Egyptians ; the 

 Greeks took to filling in the out- 

 line with its own colour, creating 

 the silhouette, generally black, as 

 in their vases. The later Greco- 

 Egyptian painting, which survived 

 into the 2nd century after Christ, 

 was wrought always either in dis- 

 - temper or in encaustic, which was 



wax-painting with coloured pow- 

 ders mixed with white, and worked 

 upon with hot tools. 



In Italy painting was done in 

 fresco on walls, and in tem- 

 pera (egg-painting) on panels of 

 wood, over which canvas had been 

 pasted, and over this canvas a 

 plaster ground had been laid. 

 Tempera was colour powder mixed 

 with egg. Fresco is water-colour on 

 freshly laid plaster, but without a 

 glue to hold it the paint is driven 

 over the newly-laid plaster, and 

 becomes its surface as it dries it 

 cannot be retouched or altered. 

 The outline was drawn, and the 

 colours laid in flat coats. Such 

 was painting when the Renaissance 

 dawned in Italy. 



These early painters step out of 

 the medieval years, trying to illus- 

 trate the sacred teaching of the 

 Church, so that the illiterate may 

 read the book of life. It was all very 

 naive and primitive. Then came 

 the eager desire to show objects in 

 depth h'ke low-relief sculpture, with 



