126
- Gettens, R.]., and M. E. Mrose. 1954. Calcium sulphate minerals in the grounds
of Italian paintings. Studies in Conservation (4):1 82-83. - Valcanover, F. 1990. An introduction to Titian. In Titian, Prince oj Painters. Venice,
3-28. - The only documentary evidence for it can be found in the fifteenth-century
manuscript in Modena Biblioteca Estense (MS a.T.7.3), fol. 3r. Also see Wallert,
A. 1984. Orpiment and realgar, some pigment characteristics. MaltechniklRestauro
(90):45-58. - Gettens, R.]., and G. L. Stout. 1966. Painting Materials: A Short Encyclopedia. New
York: Dover Publications. - Rome, Biblioteca Casanatense MS 2265, fol. 91r, describes the making of the
blue glass. On fol. 88r, the manuscript describes the actual processing of the glass
into a pigment for painting: "A macinare ismalto azuro che poi pingere in suo
colori. Pilia il smalto et rompelo sotile poi macinelo sopra il porfido cun sorro
de ovo cun uno pocho di melle. Masinalo sutile como vopi et se andasse secondo
azonze uno pocho de aqua. Et quando e masinato lava fora il mele et 10 ovo
cun l'aqua e remanera cossa bellisima." - Wallert, A. 1991. "Cimatura de grana"; Identification of natural organic colorants
and binding media in mediaeval manuscript illumination. Zeitschrijt jur Kunsttech
nologie und Konservierung (5):74-83. - Merrifield, M. P. 1849. Original Treatises on the Arts if Painting, Vol. II. London:
John Murray, 667. - Kiihn, H. 1964. Griinspan und seine Verwendung in der Malerei. Farbe und Lack,
(70):703-11. - Rome, Biblioteca Casanatense MS 2265, fol. 99r : "A far stagnolo verde. Piglia
vernice liquida e olio de linosa equal misura e meteli denmtro verderame bene
pulverizato. Poi fa bolire tanto che habia il colore a tuo modo. Poi 10 adopeera."
The result of this recipe is a complex copper resinate/oleate compound. This
recipe shows that copper resinates were not always made of Ve nice turpentine
as is generally assumed on the basis of a description in De Mayerne's treatise. - Jaffe, M., and K. Groen. 1987. Titian's Tarquin and Lucrezia in the Fitzwilliam.
The Burlington Magazine, (CXXIX):162-71. - Lucas, A., and J. Plesters. 1978. Titian's Bacchus and Ariadne. National Callery
Technical Bulletin (2) :25-48, especially 41. - Plesters, op. cit., 32-48.
- Heidegger, M. 1970. Der Ursprung des Kunstwerkes. Stuttgart: Reclam Verlag, 66.
Historical Painting Tech niques, Materials, and Studio Practice