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Painting Popularly Explained; Including Fresco, Oil, Tempera, Mosaic, Encaustic, Water-Colour, Miniature, Missal, Painting on Pottery, Porcelain, ... Sketches of the Progress of the Art - Softcover

Gullick, Thomas John

 
9781154181395: Painting Popularly Explained; Including Fresco, Oil, Tempera, Mosaic, Encaustic, Water-Colour, Miniature, Missal, Painting on Pottery, Porcelain, ... Sketches of the Progress of the Art

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Book may have numerous typos, missing text, images, or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1859. Excerpt: ... 189 (SHI fainting. PHE practice of art, it has been seen, was confined throughout the Middle Ages to the cloisters. This circumstance explains not only the religious character of art, but, from the sphere of its cultivation being so contracted, we are not surprised to find numerous branches of art practised by the same individual. Learning and science were similarly confined and centralized, so that the artist had also to cultivate the chemical and botanical knowledge necessary to enable him to prepare his various pigments and vehicles. In this study the painter was greatly facilitated by the spenseria,ov dispensary, generally attached, and even sometimes now, to the convent in Italy. In mediaeval ages the tradition indeed obtained that St. Luke, the patron of artists, was a physician as well as painter; and many a frate seemed to have emulated the presumed example of the Evangelist, by uniting the two professions in his own person. And even when, at a later period, the artist became independent, his monkish employers still frequently supplied him with his materials. But the artist generally, and almost of necessity, was acquainted with the methods of preparing these materials himself, and this knowledge was considered an essential part of artistic education. Thus, the acquisition of the knowledge of painting was not simply the study of an art, but also the drudgery of learning a business. Like ordinary handicraftsmen, the painters had their guilds; the rules of which define, among other privileges, the number of pupils which the masters in certain grades were permitted to instruct--each master, of course, taking as many pupils, to increase his profits, as these rules would permit. The pupils were duly and formally apprenticed, generally, at a very early age, and the term of their a...

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