AGLIONBY, William, Painting Illustrated in Three Diallogues. Containing some Choice Observations upon the Art. Together with The Lives of the Most Eminent Painters From Cimabue, to the time of Raphael and Michael Angelo. With an Explanation of the Difficult Terms, London, John Gain, 1685.1 quotations
The Secret of Oyl Painting, consists in using Colours that are Ground with Oyl of Nut, or Linseed, and with these you paint upon a Cloth, which has first been primed with drying Colours, such as Cerus, Red Oaker, and Ombre, mingled together. This manner of painting, makes the Colours show more Lively than any other, and seems to give your Picture more Vivacity and Softness.
Can you Paint in Oyl upon a Wall ?
Yes, you may upon a dry Wall, having first Evened it ; and washed it over with Boyled Oyls, as long as it will drink any in, and when it is dry, prime it as you do a Cloth. There is another Way of doing it too, by applying a Paste or Plaister of a particular Composition, all over the Wall, then Washing it over with Linseed Oyl, then putting over that a Mixture of Pitch, Mastick, and Varnish, boyled together, and applyed with a great Brush, till it make a Couch, fit to receive your priming, and afterwards your Colours. Vassari gives the Receipt of a particular Composition, which he used in the Great Dukes Pallace at Florence, and which is very lasting.
It must be consider’d they [ndr : les cartons de Raphaël] were made for Patterns for Tapistry, not profess’d Pictures, and painted, not in Oil, but in Distemper : If therefore one sees not the Warmth, and Mellowness, and Delicacy of Colouring which is to be found in Correggio, Titian, or Rubens, it may fairly be imputed in a great measure to these Causes. A Judicious Painter has other Considerations relating to the Colouring when he makes Patters for Tapistry to be heightned with Gold, and Silver, than when he paints a Picture without such View ; nor can a sort of Dryness, and Harshness be avoided in Distemper, upon Paper : Time moreover has apparently chang’d some of the Colours. In a word, the Tout-Ensemble of the Colours is Agreeable, and Noble ; and the Parts of it are in General Extreamly, but not Superlatively Good.