Officially known as Washington Square Park; Philadelphia’s Society Hill district contains an impressive number of eighteenth- and early nineteenth-century houses—perhaps as many as any other comparable area in the United States. This book presents; in text and pictures; the stories of its outstanding Colonial and Early American mansions and dwellings and simple row houses; its churches and other exceptional historic buildings.Old Philadelphia Houseson Society Hill contains both notes and illustrations on the design and architectural details of early Philadelphia row houses. There are also enlightening chapters devoted to such famous places as Bell’s Court; the Drinker House and Drinker’s Court; the Head House and Old Market; the Hill-Physick-Keith House and the Latta House; Old Pine Street Church and the Pennsylvania Hospital; the Man Full of Trouble Inn and many others; all complemented by photos. Featured are the uses of brick and the traditional design and decoration of the period’s interiors; showing antique furniture and prevailing modes of interior decoration.The 150 photographs strike a nice balance of exteriors and interiors; showing characteristic basics and details of structure and charming furniture pieces and accessories of old-time daily living. Tidbits of information concerning such personages as George Washington; Benjamin Franklin; Dr. Benjamin Rush and other eminent Americans are scattered throughout the book.
#989440 in eBooks 2014-07-01 2014-07-01File Name: B00O1335JK
Review
0 of 0 people found the following review helpful. photocopied first edition; thus newBy jacque wongThe book I ordered is a photocopied paperback version of the original 1935 edition from oxford university press. Some pages even have the pull or distortion from being removed from the copier too quickly. At $25; it is pretty pricy. It is of the same quality as a Dover book and would be a better addition to a library at a $8-10 price.While I lack Louis R. Velasquezs (other reviewer) experience with emulsions and formulas; i am happy to have the book as a historical reference to mediums and temperas.0 of 0 people found the following review helpful. An originalBy hypathia0077Traveling into the past and being instructed on what was used; prepared; and incorporated into historical manuscripts is like traveling to the past26 of 29 people found the following review helpful. Lacking in Crucial InformationBy Louis R. VelasquezA BOOK REVIEWEgg Tempera Painting; Tempura Underpainting; Oil Emulsion Painting : A Manuel of Technique" authored by Vaclav Vytlacil and Rupert Davidson Turnbull.New York . Oxford University Press. 1935. ISBN 978-1-40676-506-9.DESCRIPTION:The book states it was first published in 1935. It appears to be a reprint of the 1935 original edition. I do not know if the present book is an abridged version. This current copy has a soft cover binding; very small in size; 8 1/2 X 5 frac12; inches; and a total of 76 pages; of which 73 pages provide instructional information. Some of the pages have large font sizes; and many half pages exist. The writing is in simple plain English and easily understood.IS THIS BOOK RECOMMENDED?The book has historical value even though it contains much erroneous information and lacks information crucial to oil painting with Emulsions. It attempts to briefly explain the various oil painting materials and methods used in history involving the Tempera medium and the Oil medium. It offers one view of use of Emulsions in oil painting. However; it is poorly organized. The topics are not placed in best sequence for easy understanding. The layout of the formulas for the Emulsions is confusing and confounding. The procedures for application would require great diligence and experimentation. Even the authors state their formulas are arbitrary and that artists should conduct their own experiments in mixing emulsions; and in application methods.The authors say that in 1931; Jaques Maroger claimed that he had re-discovered the long lost `secret medium used by the Van Eycks. A statement by Jaques Maroger ( 1884-1962); is included however; it appears Marogers actual quotations are inaccurately stated; and the authors state Marogers quotations are condensed. This causes the reader to wonder what information is missing. Marogers own book ( out of print and very expensive); " The Secret Formulas and Techniques of the Masters"; was not translated into English and published in the USA until 1948. My additional research shows Marogers claimed re-discovery of the Van Eyck medium was published in 1931 by the British Academy of Science. Therefore; historically; this 1935 edition book under review followed the 1931 published account.Though this book makes the claim; the real questions for artists who may want to buy this book is: Did Maroger really rediscover the Van Eyck" secret medium? And; is it accurately represented here? And; is it workable?Maroger himself said that his claim cannot be proven or disproven; because the Van Eycks did not leave a written record. However; Maroger claims his medium replicates the effects in the Van Eyck paintings.FORMAT OF THE BOOK WITH MY COMMENTSThe Introduction states the book has two functions: One; an Instructional text for painting in Egg Tempera. And; two; a theoretical and practical explanation of a new method of oil painting with oils; or oil emulsions. This new method" uses Tempera as an underpainting ; as a structure for subsequent overpainting with oils or oil emulsions. The authors make no claim that this new method is the exact technique of the Old Masters; but believe it closely resembles it.Chapter One: Attempts to compare Oil Painting with Tempera Painting; but this chapter is mired with irrelevant information and poorly based opinions.Chapter Two: Discusses Oil Painting; and say their new method" is worthy of future individual development. Here the authors state they began a series of experiments; and became aware of the "Maroger Medium". Basically; they believe if one underpaints with Tempera and overpaints with the Maroger Medium; a painting can have the best of both mediums; Tempera and Oil.Chapter Three: The authors attempt to support their reasons for underpainting in Tempera; but their instructions are at times irrelevant.Chapter Four: Three main Emulsion formulas are given. Their explanations for application and uses are arbitrary as they themselves state. The numerous variations of mixtures; make oil painting to become a confusing exercise. The authors leave all the confusion in the hands of the artist; with instructions to experiment for themselves.Chapter Five: The Emulsion Formulas are here described ...again; and with additional cautionary advice on use and application.Chapter Six: Describes the grinding of Tempera paint; and providing wide leeway for the mixing.Chapter Seven; A description of a paint mixture known as Putrido". The name is Italian; and refers to the foul putrid odor of the decomposing egg mixed with the oilChapter Eight; Describes the making of the grounds for the wood panels.Chapter Nine: Describes the making of the Oil grounds.Chapter Ten: Describes materials used; such as Canvas; Tacks; Brushes; etc.Chapter Eleven: Describes Glues to use.Chapter Twelve: Describes Linseed Oil and repeats outright erroneous information; such as a so called; first pressing; which does not exist. And the erroneous unsupported claim that fresh oil should not be used. Both are based on outright ignorance of the pressing/ extraction process of linseed oil. Additional ignorance and ill-informed suggestions; on the sun thickening process is also expressed. No mention is even attempted at the most important process involving linseed oil; that of cleansing the oil to remove any vegetable particulate caused by the pressing. The only comment stated is that the oil should be carefully `strained`. The authors are unaware that linseed oil is full of microscopic sized invisible particulate; that cannot be removed by allowing it to stand for their recommended period of one year; nor by any filtering system such as their recommended fine meshed cloth. They do not mention knowing of one way to cleanse the oil is through a lengthy process of mixing with dry powders and use of a water sediment trap; followed by additional dry materials. These were processes known to the Old Masters. Without proper cleansing of the oil; it will in fact darken over time as the invisible vegetable particulate decomposes and darkens.Chapter Thirteen: Describes Damar Varnish. No warning is given of the fact that Damar is forever soluble and causes an oil paint it is mixed with to be susceptible to damage; when cleansing with solvents; or that overpainting applications will cause a damar film to lift.Chapter Fourteen: Describes Lead WhiteChapter Fifteen: Describes Gouache as a medium.Chapter Sixteen: Describes the Maroger Medium; and a very brief few paragraphs of the history of oil painting beginning with Theophilus in the 1100s. It credits Jan Van Eyck in the 1500s as mixing oil and a watery substance such as glue or egg into an Emulsion. It is not clear when the Authors are talking or when Maroger is talking as the method is being described. The authors quote a second source by Maroger; essentially repeating the first. Here Maroger is quoted as re-discovering the Van Eyck medium; and calls it an EMULSION. Maroger states either a glue or a gum was added to a varnish. This complete mixture is called the Emulsion. The book gives a date of the Maroger report as being in 1931.A somewhat scientific explanation of why the emulsion `works is explained as interpigmentary separation by the emulsion; with words such as electrolysis and osmotic exchanges used in the context.Chapter Seventeen; Describes a Summary of painting procedures. Warnings are given if too much of the medium is used; it will lead to wrinkling and cracking.NOTE: The Table of Contents does NOT divide the various subjects or themes into Chapters; and that some Subjects ( I have listed them as separate Chapters) are but one or two pages long. An Index is included.WILL THIS BOOK HELP ARTISTS UNDERSTAND "MAROGERS MEDIUM"?"Marogers Medium" is often called ` Meguilp". Websites exist with views and opinions on Meguilp"; also spelled as Megelp; Macgelph; and others of similar spelling. One website cites the origin of the name as beginning in 1767; in the writings of Sir Joshua Reynolds; others think it had its beginnings in the 1600s.My name is Louis R. Velasquez; and I am the author of the (2004) book; "Oil Painting with `Calcite Sun Oil ` Safety and Permanence Without Hazardous Solvents; Resins; Varnishes; and Driers".Here is my analysis of the claim that `Marogers Medium is ` Meguilp"; and Marogers claim; as reported in this book; based on my personal experience of working with the same materials he used; and with materials he did not use or was unaware of.I first discovered this book under Review; in January; 2008; five years after I formulated my own two Emulsions for Oil Painting. I was struck by some similarities and especially the differences of Marogers Emulsion formula; when compared with my own. I will use my experience to show why Marogers claim has serious faults.So; What specifically is Meguilp? Meguilp is described as being nothing more than a mixture of varying amounts; of a drying oil ( such as linseed oil; walnut oil; etc.) boiled with lead; and an easily made varnish of Mastic and Turpentine; ( Mastic is a SOFT resin which is forever soluble in turpentine). This mixture creates a ` jelly" that gives the oil paint it is mixed with certain handling properties that are beneficial to a painter.One website author formulates; makes and sells resin varnishes on his site; and many of his products use HARD resins; such as Amber or Copal. The site author says Meguilp has been criticized and blamed for causing much damage to paintings made in the 1800s. But; the site author rejects the blame and claims what he believes as the deficiencies of LINSEED oil as being at fault. The site author claims thick impasto of oil paint; ground in linseed oil will wrinkle badly; and turn yellow and brown; over the years. However; that same author refuses to recognize scientific proof to the contrary. The 300 year old thick impasto in Rembrandts oil paint was scientifically tested in the 1980s and 90`s. It was determined to be LINSEED oil and it has NO wrinkles; and the whites are clear and NOT yellowed nor Brown.The same author claims he uses only walnut oil; because walnut oil will not wrinkle. I bought walnut oil from him; tested it; and informed him I have a sample proving walnut oil will wrinkle. The site author privately admitted to me that walnut oil WILL wrinkle under certain circumstances...just as any oil will.How does this controversy over Linseed oil relate to this evaluation of this book on Egg Tempera Painting?The truth is that Linseed oil is not the culprit nor should it be blamed for the criticism of what is called `Meguilp" or ` Marogers Medium". Accurate information is necessary to properly evaluate Marogers formula of Emulsions as used in Oil Painting which Maroger claims is his rediscovered Van Eyck Medium.The facts of Marogers formula are these. In 1931; Maroger published his claim of re-discovery of the medium similar to that of the Van Eycks. Here; Maroger made a mixture of two very distinct; yet ancient; painting mediums: The first is an oil-resin-solvent based medium" ; and the second is a " Tempera water based medium ( egg; or glue; or gum; or casein)". By mixing these two distinct mediums; he created an EMULSION. In this 1931 recipe; he did accomplish something very different from what the many websites and other sources describe as ` Meguilp". Though Marogers own book of 1948; gives several variations of the " Meguilp" formula; which is oil boiled with lead; then mixed with a varnish made of gum turpentine and mastic resin; he had previously formulated ( in 1931) his very distinct formula in which he mixed a water-based `Tempera" medium with it. Therefore; "Marogers Medium" and `Meguilp" are not one and the same.
