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Original glue dots, I use much small amounts of glue as there is a tendency for the painted surface to “pucker” around the glue dots.

From Bradford Ashworth’s “Notes on Scene Painting” (1952, page 3)

“Netting comes in two varieties for use as scenery:

(a). the ordinary meshed bar of mosquito netting which is obtainable in many colors.

(b). the natural-color drop and border foliage netting which has a mesh of about one-inch square.”

I have primarily encountered one-inch square netting in Masonic scenery. Prior to the 1920s, each individual knotted intersection was carefully dabbed with glue.  After the 1920s, entire edges are smeared with a  4″ to 6″ wide swath of glue. Attached are pictures form various scenery collections in the Southern Jurisdiction of the Scottish Rite.  In many cases, you can see the original guidelines, tack marks, and handprints.

As it is the Thanksgiving holiday, I have decided to share some scenery from the Blue Lodge design depicting a ship. Typically, the Masonic rocky shore scene includes either a painted ship or a cut-out ship that hooks onto the backdrop. In one Valley, they replaced the original ship with an obvious Thanksgiving decoration (the Mayflower). It is one of those “in-house” alterations that just makes me smile.

and the alternate for the same Scottish Rite Valley…

I have also included a few other original examples for context.

“Linen Scrim is still a finer and closer weave than bobbinet and is used mainly for effects such as an apparition or a vision scene, i.e., a subject is painted on the front of the scrim. When the light is removed from the front and brought up to reveal an object behind the scrim, the painting on the front disappears. Since scrim is only seventy-two inches wide, there are seams when it is used to form drops. These seams must be sewn as finely as possible so they will not show.”

Bradford Ashworth’s “Notes on Scene Painting” (1952, page 3)

The images below are from the Pasadena, California, Scottish Rite Theatre for the 15th degree Treasure Chamber scene.

An excerpt from the “Practical Guide to Scene Painting and Painting in Distemper” (F. Llyods, 1875)

“Foils – They are used chiefly in fairy scenes, for the purpose of imitating gold, silver, and jewels of every shade and color. They can be purchased at any theatrical wardrobe and ornament maker’s, as well as a few oil and color shops.

White, gold and copper – Colored Dutch metal. This is also sold by the above-mentioned dealers. It is, of course, cheaper, but tarnishes sooner.” (page 15).

The foils that I have encountered on Scottish Rite scenery are 1/4″ -3/8″ crinkled paper strips with a shiny “metal” surface that catches the light. The pictures shown below were taken during scenery evaluations at the following Scottish Rite theaters: Wichita (fairy scene images), Salina (Treasure chamber images), Grand Forks, Winona, and Santa Fe (Hades images).

Brazil wood chips

Brazil wood Extract

Eastern Brazil Wood Extract and products dyed with it (A little to bright for Indigo?)

Continued excerpt from “Il Libro dell’Arte” or “The Craftsman’s Handbook” (Translation by D. V. Thompson,. Pages 36-37). 15^th Century handbook for artists.

“It is true that the fine kind is more useful in illuminators, and for making draperies with lights on them. When you have this powder all ready, get six ounces of pine rosin from the druggists, three ounces of gum mastic, and three ounces of ne wax, for each pound of lapis lazuli; put all these things into a new pipkin, and melt them up together. Then take a white linen cloth and strain these things into a gazed washbasin. Then take a pound of this lapis lazuli powder, and mix it all up thoroughly, and make a plastic of it, all incorporated together. And have some linseed oil, and always keep your hands well greased with this oil, so as to be able to handle the plastic. You must keep this plastic for at least three days and three nights, working it over a little bit every day; and bear in mind that you may keep it in plastic for two weeks or a month, or as long as you like. When you want to extract the blue from it, adopt this method. Make two sticks out of a stout rod, neither too thick nor too thin; and let them each be a foot long; and have them well rounded at the top and the bottom, and nicely smoothed. And then have your plastic in the gazed washbasin where you have been keeping it; and put into it about a porringful of lye, fairly warm; and with these two sticks, one in each hand, turn over and squeeze and knead the plastic, this way and that, just as you work over bread dough with your hand, in just the same way, . When you have done this until you see your lye is saturated with blue, draw it off into a glazed porringer. Then take as much lye again, and put it back in on to the plastic and work it over as these sticks as before.  When the lye has turned quite blue, put it into another porringer…and go on doing this for several days in the same way until the plastic will not longer color the lye; and then throw it away, for it is no longer any good. Then arrange all these porringers in front of you on a table, in series; that is, the yields, first, second, third, fourth, arranged in succession; and with your hand stir up in each the lye with the blue which, on account of the heaviness of the blue, will have gone to the bottom; and then your will learn the yields of blue. Weight the question of how many grades of blue you want; whether three, four or six, or however many you want; bearing in mind the first yields are the best, just as the first porringer is better than the second. And so if you have eighteen porringers of the yields and you wish to make three grades of blue, you take six porringers and mix them together, and reduce it to one porringer; and that will be one grade…but bear in mind that if you have good lapis lazuli, the blue from the first two yields will be worth eight ducats an ounce.* The last two yields are worse than ashes: therefore be prudent in your observation, so as not to spoil the fine blues for the poor ones.” To be continued tomorrow…

* My research on the value of a 15^th century ducat (as I am a nerd for context): A ducat was the internationally accepted gold currency produced in Venice (it had about 3.5 grams of gold in each coin). Some websites post 1 ducat as the equivalent to $150 USD. Today’s monetary equivalent for a 15^th century ducat is greatly contested and some believe it could be worth $250. Leonardo made about 50-100 ducats a year, and at the end of life had some years that he made approximately 400 ducats. In 1453 Medici had a wealth of 200,000 ducats.

The pictures included in the post below illustrate Cennini’s process!  They are from Randy Asplund’s webpage concerning book illumination techniques.  Here is the link:

http://www.randyasplund.com/pages/article/schiff1.html

Asplund describes Making the 15^th century style Schiff Book, including great process pictures and materials.  It is a great website!

Materials needed for creating blue paint to illuminate books

Grinding blue and turning it into a fine powdered pigment

A 15th century porringer

“Il Libro dell’Arte” or “The Craftsman’s Handbook” (Translation by D. V. Thompson,. Pages 36-37). 15^th Century handbook for artists.

Ultramarine blue is a color illustrious, beautiful, and most perfect beyond all other colors; one could not say anything about it, or do anything with it, that its quality would not still surpass. And, because of its excellence, I want to discuss it at length, and to show you in detail how it is made. And pay close attention to this, for you will gain great honor and service from it. And let some of that color, combined with gold, which adorns all the works of our profession, whether on wall or on panel, shine forth in every object.

To begin with, get some lapis lazuli. And if you want to recognize the good stone, chose that which you see is the richest in blue color, because it is all mixed like ashes. That which contains the least of this ash is the best. But see that it is not azurite stone, which looks lovely to the eye, and resembles an enamel. Pound it into a bronze mortar, covered up, so that it may not go off in dust; then put it on your porphyry slab, and work it up without water. Then take a covered sieve such as druggists use for sifting drugs; and sift it and sift it, and pound it again as you find necessary. And bear in mind that the more finely you work it up, the finer the blue will come out, but not so beautifully violet in color (Non si bello violante. The translation as “violet”, or better, “inclining toward violet”). To be continued tomorrow…

On a personal note, I love this color!  It is a breathtaking color with an incredible amount of depth.  Ultramarine is one of those colors that beckons to be touched.

A friend recently shared a photo from an art supply store in Bonn, Germany. He noted that the shop’s most expense pigment was a ground blue, costing 100 Euros per gram.

Below are examples of lapis lazuli and the grey ash veins that run through many stones.

An example of ground lapis lazuli, creating Ultramarine Blue pigment

The use of Ultramarine Blue in a Hell Scene for the Scottish Rite in Pasadena, California.

The use of Ultramarine Blue in a Constellation Drop (Faith, Hope, and Charity) for the Scottish Rite in Danville, Virginia.

Below is an excerpt from “The Craftsman’s Handbook” – D. V. Thompson’s English translation of “Il Libro dell’Arte,” an intriguing guide to methods of painting written in the 15th century Florence. Page 68.

“A size which is good for tempering blues and other colors.  Chapter CXI.

And there is a size which is made from the scrapings of goat or sheep parchment.  Boil them with clear (or light-colored) water until it is reduced to a third.  Know that it is a very clear size, which looks like crystal.  It is good for tempering dark blues.  And apply a coat of this size in any place were you have happened to lay in colors which were not tempered sufficiently, and it will re-temper the colors, and reinforce them, so that you may varnish them at will, if they are on panel; and blues on a wall the same way.  And it would be good for tempering gessos too; but it is lean in character, and it ought to be rather fat for any gesso which has to take gilding.”

What I find interesting with this is addressing the idea of colors dusting, or not being stable enough for a top coat to varnish.  In other words, the unstable colors would smear onto the rest of a composition.  This is similar to my process during scenery restoration.  The dusting pigment needs to be “re-tempered.” Cennini writes, “apply a coat of this size in any place were you have happened to lay in colors which were not tempered sufficiently.”  I spray a solution of size to stabilize the colors on the backdrop. The glue attaches loose pigment back to the surface of the fabric.  It is crucial that you get the perfect strength, however, or it can make the surface shine and brittle.

Here is an example of pigment dusting…I apologize about the photo quality.

And to end with the following chapter in “The Craftsman’s Handbook” that made me grin….titled: “To make a glue out of lime and cheese.  Chapter CXII”

“There is a glue used by workers in wood; this is made of cheese.   After putting it to soak in water, work it over with a little quicklime using a ittle board with both hands.  Put it between the boards; it joins them and fastens them together well.  And let this suffice you for the making of various kinds of glue.”