itself, ever had or ever would produce
that solid brilliancy or _substantial_ transparency which was and is the
great charm in the genuine works of the good old time of the art. And we
believe still that all experience is against it, and that the era of its
adoption is marked in the history of art by the visible deterioration in
the quality of the painted surfaces. Bad as we conceive the use of mastic
always to have been, it was not, until comparatively modern times,
employed in the most injurious manner. The Flemish and Italian recipes
incorporated it with the oil, together, generally, with other substances,
by heat, and not, according to the subsequent modern practice, merely
dissolved in turpentine and added to the oil. Of all varnishes mastic is
the softest, most liable to decomposition, most readily affected by
atmospheric changes, having no protection or medium of incorporation,
being merely liquified with turpentine, which, evaporating, leaves the
mastic to the injuries of air and moisture. Oil varnishes are, however, of
another character, and we are converted to their use by historic evidence,
and authorities which cannot be doubted. We do not assert that the exact
recipes and formulae, for the compositions of the true oleo-resinous
vehicles are not now in possession of the public. We are inclined to think
they are; but, as we are promised by Mr Eastlake another volume, chiefly
upon the Italian practice, which, too, we presume to think was the best,
we in some degree force ourselves to suspend our judgment, resting our
hope for what is to come upon the undeniable value of what has been
already given us.

When we formerly treated of this subject, we mentioned the great reliance
we placed upon the results of the accurate research and experiments of a
friend, P. Rainier, Esq., M.D. of the Albany. It is greatly to be
regretted that, at his death, his papers were not properly collected and
arranged for use; they are, it is to be feared, lost. We well remember his
assertion, that the paint of the old masters invariably vitrified by fire.
In proof, he scraped off some paint from an old picture, (it was in the
shadow part of back-ground, and not very thick, and where there was not,
apparently, any white-lead). He laid it on some platina, and subjected it
to the heat of the blow-pipe. The oil first exploded, and the paint was
vitrified. Hence, originated the borax medium--remarkable property of
which was its capability o