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  2. Nevertheless, this work is expensive, so in order to keep providing tliis resource, we liave taken steps to prevent abuse by commercial parties, including placing technical restrictions on automated querying. As this is the only work in mosaic ascribed to Cimabue, it has been supposed by some persons that he merely executed the design. published by Tambroni, it was considered that Vasari was mistaken, and that he had spoken of the MS. Subsequent researches,* however, have proved that he was right. in the Laurenziana, the Biccardiana Library (at Florence) contains a more perfect copy made in the sixteenth century, probably soon after the year 1500, which contains many things omitted in the Vatican MS., among which may be mentioned the arts of working in glass and in mosaic. He was born in 1406, and acquired the art of painting on glass in this city. Petronio in Bologna.* It is much to be regretted that it cannot now be ascertained what glass was painted by him, for the windows in this church were the work of several artists, among the best of whom was Frate Ambrogino da Soncino, who had been pupil of Fra Giacomo for thirty years. Petronio, Fra Giacomo is said to have 1 Guida di Bologna. Petronio are eztremelj yivid — ruby red, emerald green, ultramarine blue, and opaque black. The first glass furnace was introduced into Rimini in 1551 by Geminiano da Modena, whose sons becanie excellent painters on glass.^ 1 Vasari, Life of Guglielmo ; Bald., Vite, Dec. The window, however, might have been ordered to be painted some years previously, and perhaps was not completed and fixed in its destined place until 1153. It also suggests the idea that these paintings were not executed with enamel or vitrified colours, which would not have required recolouring, but probably with pigments mixed with egg or oil. Paper windows being con- stantly exposed to the rain, the sun, and the wind, required to be renewed annually, and were conse- quently found more expensive than glass ; this perhaps was a principal cause of their falling into disuse. The origin of painting on glass, properly so called, is involved in obscurity. stautine VII., which the Arab historian, Ibn Hayyan, states was presented by the ambassadors of that Prince in 949 to Abdurrahman at Cordova. The superfluous glass is then to be removed with the emerald,* and the pieces of glass reduced to the exact size and shape, by filing them with an iron tool called " grisatoio " or ** topo," until they fit together accurately. From the Jews resident in Italy the art soon spread to the Italians, who carried it to a greater degree of perfection than the other nations of Europe. The information contained in the treatises published in these volumes, and in other works on art, relative to technical details, is frequently concise and incomplete, and sometimes merely incidental. CXl X picture in which white lead was used in the ground would inevitably crack within fifty years after it was painted, and that pictures painted with oil on a white lead ground would moreover turn brown,^ This prac- tice, he said, was observed by Mengs, who in other respects painted with the true method. CXXl pupil of Mautegna's, but that he was certain from the manner in which his pictures were painted, that he was a pupil of Giorgione's or Pordenone's. It is therefore certain that there was a native yellow pigment found in the neigh- bourhood of volcanoes, the nature of which was not well understood, which was known by the name of giallolino or giallolino di Napoli and jaune de Naples. 12; Bachhofftier, Chemistry as applied to the Arts, &c. I consider it also established that there are two kinds of Naples yellow, namely : — 1. It consisted of the gall of a lai^e fish precipitated on a white earth. It is nearly soluble in boiling water, but as the solution cools, some resin and altered extractive are thrown down ; the alkalies and their carbonates form with it permanent solutions, and proof spirit dissolves and re- tains it with only a slight precipitation of resin. This pigment was called jalde or oropimente qiiemado by the Spaniards,' and sanda- raca by the Greeks.* It is considered to be less durable than yellow orpiment, and extremely corrosive, for Merim^e relates* that where it had been employed on flower-pieces, it appears to have corroded the priming.

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