Re: meglip

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Re: meglip

In Reply to: Re: meglip posted by Stump on 07/21/00 at 8:57 AM:

The original formula that became known as Megilp was produced in the 19th century in Scotland. It was simply the addition of cold-pressed linseed oil and double mastic varnish. The two thickened somewhat and took on a thixotropic quality in that the paint would, if worked slightly, become very smooth and, when allowed to sit, re-formed the gel which kept the strokes without fusing.

Putting lead salts such as litharge or Basic lead carbonate in proximity with linseed oil does not drive the lead into solution. The mixture must be held at heat for a period of time until all of the lead salts have gone into solution (not suspension). LeFranc & Bourgeois makes their "blonde" medium the same way everyone makes a blonde lead medium, by saponifying the oil with lime or another caustic. Seeing that the action of lead salts on linseed oil is to saponofy itself, a bit of the lead leaches into the oil.

As any varnish maker will tell you, the darker varnishes do not darken past that point whereas the blonde varnishes darken considerably.

The Cennini Maroger's medium, which you have not tried or you would not describe it as you do, comes as two components; Black Oil (which is Special Aged linseed [that's the industrial name, not mine] into which a laboratory grade of lead monoxide (litharge) is ground and then brought to 455F and held until the solids go into solution. The oil is slowly brought down in temperature over a three hour period and allowed to stand for three days. Some turbidity settles out and the oil is decanted and stored in containers filled with CO2, to prevent oxidation.

The Double mastic is made by heating turpentine well past its flash point and introducing #1 grade mastic tears. They melt and go into solution. The resulting varnish is filtered three times over as many days and the natural waxes are allowed to settle out. This accounts for the exceptionally clear varnish we produce.

If you had ever used this two part medium you would know that by mixing equal parts of the black oil and double mastic, a reaction is set up where a great deal of pine-resin smell fills the studio and the medium becomes an amber color and begins to gel. After 15 minutes or so, you have a clear amber gel which is thick enough to stand in peaks. It needs no wax for body.

There are at least half a dozen Maroger's medium formulae. The one to which you refer has no mastic (hey, that stuff is ungodly expensive). It is one of the later versions, and the one promoted by Seifried Hahn. It is simply Black Oil and besswax. Great stuff and cheap to make. Handles well and is free from the reputed ills of mastic (which changes its chemical composition when added to black oil).

It depends on which of the many Maroger's formulae you think is Maroger's medium. We've tried them all and, over the years we settled on the current formulation as being the best all-around medium which set up quickly, handled well, held detail, dried reasonably without drying hard. This last is important if you want to overpaint. The Maroger's formula we offer makes a soft and flexible film that accepts subsequent layers of paint and actually allows them to bond (dried oil will not do that and subsequent layers can delaminate).

Again, as with ALL mediums, we recommend no more than 20% medium to paint. A layered painting method is much more likely to exhibit flaws. A thin layer of medium acting as a lubicant, followed by a direct premiere coup style all but guarantees a long lasting picture. Layers of glazes and subsequent layers all but guarantees darkening and cracking.