Source citation ledger
Original Treatises on the Arts of Painting
Mary Philadelphia Merrifield
book · 1849
Mary Philadelphia Merrifield, Original Treatises on the Arts of Painting (1849).
Original Treatises, Dating from the XIIth to XVIIIth Centuries, on the Arts of Painting
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Alchemy
Gesso Grosso is historically related to Gesso.
Merrifield’s Original Treatises seat gesso grosso among the coarse gypsum grounds of Italian panel recipes continuous with Cennini-neighborhood speech the MSS preserve. A named gesso-grosso grade in that painting-treatise craft, not gesso as the generic ground alone and not acrylic-gesso as modern primer.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Gesso Sottile is historically related to Gesso.
Merrifield’s Original Treatises seat gesso sottile among the fine levigated gypsum grounds laid over coarser coats in Italian panel recipes. A named gesso-sottile grade in that painting-treatise craft, not gesso-grosso as the coarse undercoat and not acrylic-gesso.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
French bole is used in Gold leaf.
Merrifield’s Original Treatises seat bole grades under burnish water-gilding for laying gold leaf in the Italian and later workshop recipes she edits. A named french-bole trade earth used with gold-leaf, not italian-bole alone and not oil-gilding mordant without bole.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Italian bole is used in Gold leaf.
Merrifield’s Original Treatises seat Italian bole among the red clay grounds for burnish water-gilding under gold leaf in the panel recipes. A named italian-bole used with gold-leaf, not french-bole as the northern trade grade alone and not gold-size as oily mordant alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Brazilwood lake is historically related to Brazilwood.
Merrifield’s Bolognese manuscript seats lake and pavonazo colours from verzino / Brasilio among red lakes prepared from brazil heartwood. A named brazilwood-lake historically related to brazilwood, not brazilwood as the dyewood alone and not synthetic alizarin crimson.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Kermes lake is historically related to Kermes.
Merrifield’s treatises and introduction seat red lakes from kermes / grana among the animal lakes of Italian painters. A named kermes-lake historically related to kermes, not cochineal as the later New-World scale alone and not lac-lake as gum-lac lake.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Lac lake is historically related to Lake.
Merrifield’s treatises seat lacca / lac lake among the animal red lakes prepared from gum lac for panel and miniature colour. A named lac-lake historically related to lake as the pigment class, not shellac as the varnish resin alone and not kermes-lake.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Madder lake is historically related to Madder.
Merrifield’s painting treatises and notes seat madder among vegetable reds prepared as lake for painters — continuous with rose-madder speech without synthetic alizarin. A named madder-lake historically related to madder, not alizarin as the later coal-tar isolate and not brazilwood-lake.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Weld lake is historically related to Weld.
Merrifield’s colour recipes seat yellow lakes from weld and kindred yellow dyestuffs among painter’s transparent yellows. A named weld-lake historically related to weld, not gamboge as the Asian gum-resin yellow alone and not chrome-yellow modern.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Yellow lake is historically related to Lake.
Merrifield’s treatises seat yellow lake colours among the transparent organic yellows prepared on a substrate for tempera and oil. A named yellow-lake historically related to lake, not naples-yellow as the lead-antimony opaque yellow and not arylide/hansa modern organics.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Rose lake is historically related to Lake.
Merrifield’s lake chapters seat rose and pavonazo lake tints among the red-lake family for flesh and drapery. A named rose-lake historically related to lake, not rose-madder as the madder grade alone and not quinacridone modern rose.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Burnt sienna is historically related to Sienna.
Merrifield’s treatises and pigment notes seat burned sienna earth among the calcined warm browns continuous with terra di Siena speech. A named burnt-sienna historically related to sienna, not raw-sienna and not burnt-umber as the cooler dark earth.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Raw sienna is historically related to Sienna.
Merrifield’s painting materials seat raw sienna earth among the natural yellow-brown iron earths before calcination. A named raw-sienna historically related to sienna, not burnt-sienna and not yellow-ochre as the lighter ochre alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Burnt umber is historically related to Umber.
Merrifield’s pigment notes seat burned umber among the calcined dark brown earths of the painter’s palette. A named burnt-umber historically related to umber, not raw-umber and not burnt-sienna as the warmer calcined earth.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Raw umber is historically related to Umber.
Merrifield’s treatises seat raw umber among the natural cool brown manganese-iron earths before burning. A named raw-umber historically related to umber, not burnt-umber and not vandyke-brown as the bituminous brown alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Brown ochre is historically related to Ochre.
Merrifield’s earth-colour notes seat brown ochre among the darker iron-earth ochres of panel and wall recipes. A named brown-ochre historically related to ochre, not gold-ochre as the yellower grade and not umber as the manganese brown.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Gold ochre is historically related to Ochre.
Merrifield’s pigment speech seats gold ochre among the warm yellow iron-earth ochres used for flesh and drapery. A named gold-ochre historically related to ochre, not brown-ochre and not orpiment as the arsenic yellow.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Roman ochre is historically related to Ochre.
Merrifield’s European earth notes seat Roman ochre among the warm ochre trade grades named in later workshop speech continuous with Italian earths. A named roman-ochre historically related to ochre, not oxford-ochre as the English grade alone and not sinopia as the classical red-earth name dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Venetian red is used in Red.
Merrifield’s treatises and colour notes seat Venetian red among the iron-oxide reds of Italian workshop speech for oil and tempera. A named venetian-red used in red pigment craft, not indian-red as the deeper oxide grade alone and not cinnabar as mercury red.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Indian red is historically related to Hematite.
Merrifield’s pigment notes seat Indian red among the deep iron-oxide reds continuous with hematite earth speech in European painting. A named indian-red historically related to hematite, not venetian-red as the lighter Italian oxide and not mars-red as later artificial oxide.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Distilled verdigris is historically related to Verdigris.
Merrifield’s Bolognese green chapters seat distilled and purified verdigris among the copper-acetate greens prepared for painting. A named distilled-verdigris historically related to verdigris, not raw verdigris crust alone and not malachite as the carbonate green.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Copper resinate is historically related to Verdigris.
Merrifield’s oil and glaze notes seat copper greens dissolved in resin and oil — the transparent copper-resinate path of early modern painting. A named copper-resinate historically related to verdigris copper green, not malachite opaque green and not phthalocyanine modern.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Verditer is historically related to Copper.
Merrifield’s artificial azure and green chapters seat verditer among the precipitated copper blues and greens of workshop recipes. A named verditer historically related to copper, not azurite as the natural carbonate and not french-ultramarine synthetic.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Mountain blue is historically related to Azurite.
Merrifield’s Bolognese natural-azure book seats mountain / German / Spanish azures continuous with azzurro della magna — mountain-blue speech for natural copper carbonate blue. A named mountain-blue historically related to azurite, not ultramarine as lapis blue and not verditer as precipitated copper.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Spanish green is historically related to Verdigris.
Merrifield’s green recipes seat Spanish green among the copper-green names of medieval–early-modern painting speech continuous with verdigris. A named spanish-green historically related to verdigris, not malachite and not sap-green as the plant juice green.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Amber Varnish is historically related to Amber.
Merrifield’s introduction and varnish chapters seat hard amber (carabe) varnishes boiled with oil among the older picture varnishes of the MSS. A named amber-varnish historically related to amber, not damar as later soft East-Indian resin and not sandarac spirit varnish alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Oil varnish is used in Oil.
Merrifield’s treatises seat oil varnishes — resins dissolved in drying oil — among the finishes and painting media of medieval–early-modern recipes. A named oil-varnish used in oil craft, not spirit-varnish as alcohol/turpentine resin solution and not picture-varnish as the later finishing grade name alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Spirit varnish is used in Resin.
Merrifield’s later MSS notes seat spirit varnishes — sandarac, mastic, and kindred resins in spirit of wine or turpentine — among essential-oil and spirit finishes. A named spirit-varnish used with resin, not oil-varnish as oil-cooked resin and not white-spirit modern petroleum diluent.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Gum sandarac is historically related to Sandarac.
Merrifield’s varnish recipes seat gum sandarac among the hard spirit-varnish resins continuous with sandarac speech. A named gum-sandarac historically related to sandarac, not Theophilus’s sandarac resin row alone as a twin dump and not damar.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Venice turpentine is historically related to Turpentine.
Merrifield’s oil and varnish notes seat Venice turpentine (olio di abezzo / larch balsam) among the soft balsams of early-modern painting media. A named venice-turpentine historically related to turpentine, not rectified-turpentine as distilled spirit alone and not burgundy-pitch.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Copal varnish is historically related to Copal.
Merrifield’s varnish survey seats copal among the hard resins cooked into oil varnishes in later treatise speech she edits. A named copal-varnish historically related to copal, not amber-varnish and not damar soft varnish.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Picture Varnish is used in Resin.
Merrifield’s chapters On Varnishing Pictures seat finishing varnishes over completed paintings among resin and oil finishes. A named picture-varnish used with resin craft, not retouching-varnish as interim modern studio coat and not stopping-out etching ground.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Asphalt varnish is historically related to Asphalt.
Merrifield’s dark-medium notes seat asphalt / bitumen dissolved as varnish and glaze among early-modern brown transparent media. A named asphalt-varnish historically related to asphalt, not asphaltum-japan coach finish alone and not vandyke-brown earth dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Boiled Linseed Oil is used in Oil.
Merrifield’s oils chapters seat boiled linseed oil (olio cotto) among the drying oils prepared with heat and dryers for paint and varnish. A named boiled-linseed-oil used in oil painting craft, not cold-pressed-linseed as the raw oil and not stand-oil as later polymerized industrial oil alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Cold-Pressed Linseed is historically related to Flax.
Merrifield’s oil-purification notes seat cold-drawn linseed oil from flax seed among the painters’ drying oils before boiling. A named cold-pressed-linseed historically related to flax, not boiled-linseed-oil and not poppy-oil as the slower-drying seed oil.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Poppy Oil is historically related to Poppy.
Merrifield’s oil chapters seat poppy-seed oil among the slow-drying painters’ oils of early-modern recipes. A named poppy-oil historically related to poppy, not linseed oil as the faster dryer and not safflower-oil modern substitute.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Sun-Thickened Oil is used in Oil.
Merrifield’s drying-oil notes seat oils thickened in the sun among historical bodying methods for paint and varnish before industrial stand oil. A named sun-thickened-oil used in oil craft, not stand-oil as kettle-polymerized later oil and not black-oil as lead-treated oil alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Buon Fresco is historically related to Fresco.
Merrifield’s wall-painting notes and Italian recipes seat true fresco — pigment on wet lime — among mural techniques the treatises distinguish. A named buon-fresco historically related to fresco, not fresco-secco as painting on dry plaster and not mezzo-fresco as intermediate set.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Fresco Secco is historically related to Fresco.
Merrifield’s mural notes seat secco painting on dry plaster among wall techniques beside true fresco. A named fresco-secco historically related to fresco, not buon-fresco as wet-lime binding and not distemper as glue-bound wall colour alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Merrifield’s Italian wall recipes seat intonaco — the fine finish plaster coat that receives buon fresco — among fresco ground layers. A named intonaco used in fresco craft, not arriccio as the rough undercoat and not gesso as panel ground.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Merrifield’s fresco-layer speech seats arriccio — the coarse lime-sand undercoat — beneath intonaco in Italian mural practice. A named arriccio used with lime plaster craft, not intonaco as the fine finish coat and not gesso-grosso as panel gypsum.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Tempera Grassa is historically related to Tempera.
Merrifield’s tempera and oil-transition notes seat tempera grassa — egg tempera enriched with oil — among Italian mixed techniques. A named tempera-grassa historically related to tempera, not oil-paint as pure drying-oil painting and not egg-tempera-binder as the binder alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Merrifield’s Original Treatises are expressly on painting in oil among other arts — pigment ground in drying oil as the oil-paint medium the MSS teach. A named oil-paint used in oil craft, not tempera as egg medium and not acrylic modern emulsion.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Merrifield’s distempering notes (including Jacobus de Tholeto colour tempering) seat glue- and size-bound wall and panel colour among tempera-family media. A named distemper used with glue size craft, not buon-fresco as wet-lime binding and not casein as milk binder alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Imprimatura is used in Workshop.
Merrifield’s oil-ground and colouring notes seat thin coloured imprimatura coats over the ground as the first painting layer in workshop practice. A named imprimatura used in the painter’s workshop, not underpainting-white as opaque underpaint alone and not verdaccio as green under-modelling alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Merrifield’s Paduan notes seat gamboge prepared with lemon-juice and alum among early-modern yellow pigments — a gum-resin colour of the later MSS. A named gamboge used as resin colour in painting, not weld-lake as the European dyestuff lake and not cadmium-yellow modern.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
used in · sourced · documented
Naples yellow is historically related to Lead.
Merrifield’s yellow pigment notes seat Naples yellow among lead-antimony opaque yellows of early-modern palettes continuous with giallorino speech. A named naples-yellow historically related to lead, not lead-tin-yellow as the earlier tin-lead yellow Theophilus seated and not cadmium-yellow.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Mosaic gold is historically related to Tin.
Merrifield’s Bolognese Cap. VI seats porporino / mosaic gold — tin sulfide imitation gold — among artificial gold colours for painting and gilding. A named mosaic-gold historically related to tin, not gold-leaf as true leaf and not mannheim-gold brass dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Bistre is historically related to Charcoal.
Merrifield’s brown wash and ink notes seat bistre — soot-brown from burned wood — among historical transparent browns for drawing and painting. A named bistre historically related to charcoal/soot browns, not bitumen asphalt glaze alone and not sepia as cuttle ink.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Chalk white is historically related to Chalk.
Merrifield’s white-pigment notes seat white chalk among inert whites and extenders in tempera and oil recipes. A named chalk-white historically related to chalk, not flake-white as lead white and not zinc-white modern.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Smalt is historically related to Dye.
merrifield-painting seats smalt among its lemmas — smalt speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Canvas is historically related to Clay.
merrifield-painting seats canvas among its lemmas — canvas speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Carmine is historically related to Dye.
merrifield-painting seats carmine among its lemmas — carmine speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Copal is historically related to Resin.
merrifield-painting seats copal among its lemmas — copal speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Lampblack is historically related to Dye.
merrifield-painting seats lampblack among its lemmas — lampblack speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Sandarac is historically related to Resin.
merrifield-painting seats sandarac among its lemmas — sandarac speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Size is historically related to Dye.
merrifield-painting seats size among its lemmas — size speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Tempera is historically related to Dye.
merrifield-painting seats tempera among its lemmas — tempera speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Turpentine is historically related to Resin.
merrifield-painting seats turpentine among its lemmas — turpentine speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Cochineal is historically related to Dye.
merrifield-painting seats cochineal among its lemmas — cochineal speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Gesso is historically related to Dye.
merrifield-painting seats gesso among its lemmas — gesso speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Mastic is historically related to Resin.
merrifield-painting seats mastic among its lemmas — mastic speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Realgar is historically related to Dye.
merrifield-painting seats realgar among its lemmas — realgar speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Sepia is historically related to Dye.
merrifield-painting seats sepia among its lemmas — sepia speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Smalti is historically related to Dye.
merrifield-painting seats smalti among its lemmas — smalti speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Glue is historically related to Resin.
merrifield-painting seats glue among its lemmas — glue speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Orpiment is historically related to Dye.
merrifield-painting seats orpiment among its lemmas — orpiment speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Chalk is historically related to Dye.
merrifield-painting seats chalk among its lemmas — chalk speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Fresco is historically related to Dye.
merrifield-painting seats fresco among its lemmas — fresco speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Vinegar is historically related to Oil.
merrifield-painting seats vinegar among its lemmas — vinegar speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Walnut is historically related to Oil.
merrifield-painting seats walnut among its lemmas — walnut speech, not a free modern dump alone.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Piccolo is historically related to Bronze.
merrifield-painting seats piccolo beside bronze as a craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Necklace is historically related to Wool.
merrifield-painting seats necklace beside wool as a craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Leaf is historically related to Medicine.
merrifield-painting seats leaf beside medicine as a craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Camera is historically related to Oak.
merrifield-painting seats camera beside oak as a craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Florin is historically related to Iron.
merrifield-painting seats florin beside iron as a craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Plastic is historically related to Oak.
merrifield-painting seats plastic beside oak as a craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Castle is historically related to Oak.
merrifield-painting seats castle beside oak as a craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Orange is historically related to Wax.
merrifield-painting seats orange beside wax as a craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Marbles is historically related to Iron.
merrifield-painting seats marbles beside iron as a craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Bianco di San Giovanni is historically related to Ochre.
merrifield-painting seats orphan bianco-san-giovanni beside ochre as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Cardenillo is historically related to Ochre.
merrifield-painting seats orphan cardenillo beside ochre as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Giallorino is historically related to Ochre.
merrifield-painting seats orphan giallorino beside ochre as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Salt green is historically related to Salt.
merrifield-painting seats orphan salt-green beside salt as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Salt of urine is historically related to Salt.
merrifield-painting seats orphan salt-of-urine beside salt as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Shotel is historically related to Workshop.
merrifield-painting seats orphan shotel beside workshop as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Vergaut is historically related to Ochre.
merrifield-painting seats orphan vergaut beside ochre as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Dye Box is historically related to Ochre.
merrifield-painting seats orphan dye-box beside ochre as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Ochre Yellow Earth is historically related to Ochre.
merrifield-painting seats orphan ochre-yellow-earth beside ochre as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Silver Yellow is historically related to Gold.
merrifield-painting seats orphan silver-yellow beside gold as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Umber Green is historically related to Ochre.
merrifield-painting seats orphan umber-green beside ochre as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented
Yellow Varnish is historically related to Ochre.
merrifield-painting seats orphan yellow-varnish beside ochre as a first craft peer — object speech, not a text-container or tradition dump.
from Mary Philadelphia Merrifield · Original Treatises on the Arts of Painting, 1849
historically related to · sourced · documented