12-08-2007, 01:01 PM
Jim:
Yes, oil-based paints are a different kettle, etc. Water-based paints probably would not work at all, even if they had some sort of additive such as egg yolk (tempora) or casein (milk protein). Oil-based paint would certainly be an option, provided that you were prepared to wait for the stuff to harden.
Actually, from the recipe you quoted, Mr. Bach was using a siccative - the chromium oxide and ochre pigments. Oils like linseed harden because the molecules join together (polymerise) and this process is speeded up (catalysed) by certain types of metals (chemists sometimes call these 'transition metals'). Chromium, iron and cobalt are good examples of this happening. I've lost track of the number of times I've opened up a tube of chrome green oil paint, only to find a lump of green rubber inside!
Still comes back to the question I asked earlier, if it can be done, why don't we see it done more often - given the propensity of the Romans for painting anything that didn't move! I suspect (only suspect, mind you - it would require more of a literature search than I have time for) that the results the Romans could achieve with their technology and materials would not be anything like as good as Carlton got with his.
Marcus: If it's 4th CBC, it's probably a Montefortino? (Unless it comes under one of those Italian hill tribes, like the Oscans or the Samnites?) The only such helmet that I have seen in the BM of this type is devoid of any paint that I can see (looking at the pictures now). Wouldn't surprise me, however, that there are others 'downstairs' in the archives! Do you have any more info on it?
Paul:
I'd really like to see that fresco! However, a painting is one step removed from the actual item - which is why I'd like to see how it's done. (Remember the arguement on tunic colours and that mosaic from Alexandria?)
Caratacus
(Mike Thomas)
Yes, oil-based paints are a different kettle, etc. Water-based paints probably would not work at all, even if they had some sort of additive such as egg yolk (tempora) or casein (milk protein). Oil-based paint would certainly be an option, provided that you were prepared to wait for the stuff to harden.
Actually, from the recipe you quoted, Mr. Bach was using a siccative - the chromium oxide and ochre pigments. Oils like linseed harden because the molecules join together (polymerise) and this process is speeded up (catalysed) by certain types of metals (chemists sometimes call these 'transition metals'). Chromium, iron and cobalt are good examples of this happening. I've lost track of the number of times I've opened up a tube of chrome green oil paint, only to find a lump of green rubber inside!
Still comes back to the question I asked earlier, if it can be done, why don't we see it done more often - given the propensity of the Romans for painting anything that didn't move! I suspect (only suspect, mind you - it would require more of a literature search than I have time for) that the results the Romans could achieve with their technology and materials would not be anything like as good as Carlton got with his.
Marcus: If it's 4th CBC, it's probably a Montefortino? (Unless it comes under one of those Italian hill tribes, like the Oscans or the Samnites?) The only such helmet that I have seen in the BM of this type is devoid of any paint that I can see (looking at the pictures now). Wouldn't surprise me, however, that there are others 'downstairs' in the archives! Do you have any more info on it?
Paul:
I'd really like to see that fresco! However, a painting is one step removed from the actual item - which is why I'd like to see how it's done. (Remember the arguement on tunic colours and that mosaic from Alexandria?)
Caratacus
(Mike Thomas)
visne scire quod credam? credo orbes volantes exstare.
