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Leaving aside Van Hoogstraeten's
remark about Lievens, the idea that
this manner required specially
prepared paints did not re-emerge
until the nineteenth century.
Baldinucci, in 1686, suggested that
the reason why Rembrandt's paint
surface had such an unusual relief
was that he worked very slowly and
went over certain passages time and
again, making them thicker and
thicker. Houbraken, on the other
contrary, put it down to Rembrandt's
supposedly rapid way of working,
slapping his paint on with a trowel.50
It was only later that people began
wondering whether the paint might
not have been mixed with additives
which affected its composition, such
as resin, wax and albuminous
substances.51
These suspicions could only be put to
the test by imitating Rembrandtesque
effects and experimenting with different
additives. Max Doerner, who was
particularly influential in Germany, also
based his findings on reconstruction
experiments. His ideas on Rembrandt's
supposed use of resinous media in
transparent glazes have since been
proved incorrect by tests carried out in
the Scientific Department of the
National Gallery in London.52 It is only
now that analytical techniques have
become so sophisticated that the
problem of Rembrandt's binding
medium can be tackled scientifically
rather than empirically. The London
researchers focused primarily on the
organic constituents of the medium, the
oils that could have been used, and
possible organic additives like resins,
waxes or albuminous materials. Not
one of the admixtures proposed in
earlier hypotheses was found, and the
only organic materials detected were
linseed oil, and occasionally walnut oil.
These are extremely important
findings, although they do not
completely resolve the question of
Rembrandt's paint medium, for
leaving aside the organic materials it is
possible that inorganic compounds
could have been added to modify the
consistency of the paint. These
substances are more difficult to
detect, since most of the pigments
with which the medium is very
intimately mixed are composed of
inorganic matter, and since the latter
is not pure it is possible to isolate
numerous inorganic substances in
paint samples which are not
necessarily directly associated with
the preparation of the medium.
Nevertheless, advances are also
being made on this front. Agents
which must have been added
primarily to speed the drying process,
such as lead compounds and ground
glass, have now been found.53 The
scientific examination of the factors
affecting the differentiation in the
consistency of Rembrandt's paint is
still in its infancy. Time will tell
whether, in a chemical sense, there
are `wonders' to be found in
Rembrandt's `mixed pigments,
varnishes and oils', but optically that
is certainly the case.

There is nothing you cannot accomplish by simple means as i said. No egg nor maroger,etc.
You don't even need the ground glass either. But I guess you'll have
to see work as proof, so I'll shut up until I have completed the next 6 paintings.
But all the medium talk gets me going.
Time spent on concoction research is better spent on applying regular paint in new ways.
It is like a bunch of doctors trying to sell a new useless drug for a buck, and ignoring the fact that they have
not finished mapping the human genome.
For god's sake, Maroger medium is not the "secret" of anything but a quick buck off of a sucker.
Happy Hint: How did the medieval painters try to depict form? In answering that
question you will get answers. Once you master applying the "regular" paint, then maybe
try egg, etc. but it is to the detriment of long term permanency as painters eventually knew, as it is organic and
creates a less stable layer, and can be imitated by other means. The problem is people are
so damn lazy, they just say, hell,"lemme add some egg in there to get some nice juicy paint!"
Not only are you wasting time better spent on painting, but buying concoctions like
maroger medium will suck your wallet dry as well.

-Yoda