Occurrence of Attributes in Original Text
The text related to the cultural heritage 'Padua’s fourteenth-century fresco cycles' has mentioned 'Pigment' in the following places:
| Occurrence Sentence | Text Source |
|---|---|
| Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. | WIKI |
| Buon fresco pigment is mixed with room temperature water and is used on a thin layer of wet, fresh plaster, called the intonaco (after the Italian word for plaster). | WIKI |
| Because of the chemical makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco, which itself becomes the medium holding the pigment. | WIKI |
| The pigment is absorbed by the wet plaster; after a number of hours, the plaster dries in reaction to air: it is this chemical reaction which fixes the pigment particles in the plaster. | WIKI |
| Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. | WIKI |
| The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall. | WIKI |
| A third type called a mezzo-fresco is painted on nearly dry intonacoxe2x80x94firm enough not to take a thumb-print, says the sixteenth-century author Ignazio Pozzoxe2x80x94so that the pigment only penetrates slightly into the plaster. | WIKI |