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Oil Varnishes I
The oil varnishes that we produce can be roughly devided into two groups: Pad Printing and Brushing varnishes.
Pad Printing varnishes
The oldest and once most widely used are the Vernice Liquida types. These are well documented from the early
12th century onwards and fell into disuse towards the end of the 18th century. Vernice Liquida varnishes can
be made with either linseed or walnut oil. As a matter of choice, we produce them only with liseed oil.
These varnishes are formulated for application by pad printing technique but can be brushed after being diluted with a solvent.
Brushing varnishes
For the second group documentation is less direct, but their use seems to be confirmed by the results of chemical analysis of some classical violin varnishes.
It is likely that varnishes from this group were used mainly in Italy and possibly only from the 16th- untill the end of the 18th century.
For this reason we have named them Classical Italian Walnut Oil Varnishes and Linea Cremonese varnishes
These are both specifically formulated to be brushed, but can be pad printed about half an hour after application.
None of these varnishes is more "classical" than the other. The scarce scientific data on classical
varnishes suggests that representatives of both groups were used simultaniously in the same town.
This underlines our conviction that a single substance as "the classical varnish" has never existed as such.
! We have optimised our siccative and have changed our policy of including it automatically with our varnishes. Please order siccative for all varnishes separately !
Magister siccative - an ideal lead replacement combination dryer for all natural oil varnishes.
Most historical oil varnishes were siccativated with lead compounds to speed up the drying.
Siccative works as a catalist on the drying process. Siccativated varnishes still need UV light for through drying.
Magister siccative is packed in 50 ml spout bottles and added to oil varnishes at levels between 1 and 3 %.
The bottle comes with a metal syringe that can be inserted into the spout to produce precision droplets.
Pad Printing Varnishes
Vernice Liquida type Varnishes
The term “Vernice Liquida” does not apply to one single recipe, but to a way of thinking about and making oil
varnishes. It dates back to the Byzantine era. In Roman and early Christian times the words “vernix” and later
“vernice” indicated a resin. The usual translation of the term “vernice liquida” into “liquid varnish”, is therefore
incorrect. A more meaningful interpretation of the term would be ’’liquid resin‘’. This explains why contrary to
being very fluid as the name suggests to us, vernice liquida type varnishes were often of a fairly high viscosity.
These kind of varnishes were made in many different varieties and qualities for even more different purposes.
Vernice liquida type varnishes were specfically formulated for the at the time often practised method of varnish
application by hand or with a pad. Vernice liquida type varnishes usually did not contain any solvent.
This however does not mean that they could not be diluted and applied by brush also.
Grounds that will show the typical opaque ivory white fluorescence of classical grounds under UV light, call for
Vernice Liquida Comune or Vernice Liquida Glassa. These almost colourless varnishes will aquire a golden
tinge through the natural yellowing of the varnish film in 2 – 5 years time. The yellowing of the varnish film will
also increase the opacity of the Fluorescent colour of these varnishes.
General description:
Use: Formulation of transparent grounds - Basis for coloured varnishes - Clear protection varnish.
° Medium hardness, high wear resistance and flexibility
° Low tack (very little drag on the brush)
° Excellent flow characteristics (self levelling)
° Free of siccative (prolonged shelf live)
Siccative is no longer included with the varnish. Please order siccative separately !
° Improves the light fastness of pigments and soluble colours through its superior protection against
moisture, oxygen and ultra-violet light
° Can be diluted with : Petroleum, White spirit (mineral spirit), Turpentine, Spike lavender- or thin Linseed oil
° Ivory-white fluorescent colour under U.V. light (for the clear varnishes only)
Approximate drying times with 2% of siccative added
° Dust Free (indoors) 4 hours: the varnish is no longer sticky when touched
° Over varnishable (outdoors in sunlight) 2 days: the varnish feels dry but still rubbery
° Sand dry (outdoors in sunlight) 3 - 5 days: abrasives can be used on the varnish layer
Vernice Liquida clear varnishes
Vernice Liquida Comune - High quality uncoloured Sandarac/Linseed oil based general varnish.
The specification “Comune” originally indicated that the varnish contained “common amber” a regional name for
sandarac. At a later date this specification was also used for ordinary (common) pine resin varnishes.
Vernice Liquida Glassa - High quality uncoloured Amber/Linseed oil based general varnish.
Compared to the Sandarac variety, our Amber based Vernice Liquida produces a slightly glossier and thinner
varnish film.It is easier to polish early on and although it will feel a little harder, it’s flexibility is very similar.
The through drying of the film is slightly faster and it has an almost negligible own colour.
Vernice Liquida Gold Varnishes (Doratura)
Gold coloured varnishes of various formulations under the names of Deauratura, Vermeil and Doratura were in
common use from the Byzantine until the Renaissance period. As was their original purpose when applied in thin
coats on tin or silver, Doratura varnishes will appear like different shades of gold.
Thicker layers of these varnishes on wood will however display a much wider variety of colours.
Doratura varnishes can be used straight to produce full toned colours in 2 - 4 coats.
Lighter colours can be achieved by (in historical painting terms) “tempering” with uncoloured Vernice Liquida.
Doratura varnishes are ideal as the basis for pigmented paints/varnishes, adding warmth to all pigments.
General description for all Doratura varnishes:
° Solvent free/poor Vernice Liquida type oil varnishes.
° Excellent light fastness.
° Siccative free (prolonged shelve life)
Siccative is no longer included with the varnish. Please order siccative separately !
° More flexible and thermoplastic than Vernice Liquida clear varnishes, resistant enough even for Double basses.
° Can be diluted with Petroleum, White spirit (Mineral Spirit), Turpentine, or thin Linseed oil.
° Key ingredients are obtained from the same locations and plant species that were used during the 17th - 18th
century.
General Doratura Varnishes
Doratura Rosso - Orange golden to Brownish orange colours. Sandarac/Linseed oil based.
This is a strongly amber- to orange-golden coloured Vernice Liquida.
Doratura Varnishes are ideal for grinding in pigments and beneficial modifiers for other oil varnishes.
Use: Coloured varnish - Basis for coloured varnishes and paints - Coloured over varnish.
Doratura Marrone - Orange brown variety of Doratura. Amber/Linseed oil based.
slightly faster drying, high colour strength. Orange - brown to Deer-brown colours.
Doratura Marrone has an almost paint like quality and is not quite as transparent as our other varnishes.
This can be adjusted by glazing over with one of these other varnishes.
Use: Especially suited as a basis for coloured varnishes and paints, or as a colour adjusting additive.
Specific Doratura Violin Varnishes
These special Doraturas are even finer in consistency and have been optimised for colour and colour strength.
They display a higher degree of pseudo dichroism and will produce strong colours even without piments added.
Their Fluorescent signature (when viewed in Black Light Blue conditions) is close to original classical varnishes.
Doratura Cremonese - Amber golden to Orange golden Colours. Sandarac/Linseed oil based.
Reminiscent of later Amati and early Stradivari varnishes.
Doratura Cremonese Glassa - Amber/Linseed oil based variety of Doratura Cremonese.
Slightly darker colour more reminiscent of earlier Amati varnishes.
Our two Doratura Cremonese types are unique amongst Doratura varnishes. They are among the few varnishes
known to us, that can keep their orange fluorescent colour even with pigments added.
When applied on top of darker fluorescent layers, they will make these appear much lighter.
In the weeks following on drying, their initial lemon yellow colour deepens to a delicate amber golden.
Pigments get a more fiery appearance and better light stability when ground into these varnishes.
Use: Coloured varnish - Basis for coloured varnishes and paints - Coloured over varnish.
Cremonese Red Doratura - Sandarac/Linseed oil based
Produces sparkling Orange/Red colours with a brown undertone. Redder and more nuances in thicker layers.
While drying, the initial brown colour changes to a lightfast final colour.
Due to its more moderate oil ratio, this varnish is a non wrinkling version of Venetian red varnishes.
It has a UV signature that is very similar to that of typical Venetian and many Cremonese Red varnishes.
Use: Coloured varnish - Basis for coloured varnishes and paints - Coloured over varnish.
Brescian Brown Doratura - Chestnut Brown colour with strong orange nuances. Amber/Linseed oil based
Use: Coloured varnish - Basis for coloured varnishes and paints - Coloured over varnish.
Although similar to Doratura Marrone, the colour of Brescian Brown Doratura is stronger and more complex.
The texture of the dried varnish is of a finer nature and this varnish produces a stronger dichroiic effect.
Use: Coloured varnish - Basis for coloured varnishes and paints - Coloured over varnish.
Brushing Varnishes
Classical Italian Walnut oil Varnishes
Reliable scientific data on classical violin varnishes is scarce and not easy to interpret. What has become clear from both the analytical work done by professor Raymond White in the early 1980’s and the EU-Artech project currently undertaken, is that during the classical period, instrument varnishes were made with both linseed and walnut oil. Although the amount of data is still insufficient to draw definite conclusions, the use of a particular oil does not seem to have been governed by locality or availability.
There are also indications that - at least where it concerns later classical instrument varnishes - these oils were not simply interchanged within a given varnish recipe as is often suggested in early manuscripts on painting and varnishes. This has led us to conclude that the use of walnut oil in classical violin varnishes was a divergence from the historical Vernice Liquida type oil varnishes.
Based on all presently available data and guided by practicality, the formulation of Magister’s “Classical Walnut Oil Varnish” has resulted in a range of fast drying walnut oil varnishes. These varnishes are formulated to be brushed on and (if needed) padded to perfection once their solvent has evaporated. Their initial drying times are similar to our Linseed oil varnishes, but the through drying and maturing will take up to three times as long. The dried varnish film has an enamel like surface with a soft fatty gloss and allows for an even higher level of clarity and dichroic effect than our linseed oil varnishes. Once matured, toughness and flexibility are similar to our linseed oil varnishes.
General description for all Classical Italian Walnut oil varnishes:
° Oil varnishes formulated for application by brush.
° Excellent light fastness.
° Siccative already in the varnish, extra siccative can be added.
° A little more thermoplastic than Vernice Liquida varnishes, resistant enough for Celli.
° Can be diluted with Petroleum (Kerosine), White spirit (Mineral spirit) and (Oil of)Turpentine.
° Key ingredients come from the same locations and plant species that were used during the 17th - 18th century.
° When used over our primer the walnut oil varnishes show very strong pseudo dichroic effects.
Clear Walnut oil varnish - Uncoloured general purpose varnish. Sandarac/Walnut oil based
Use: as a ground varnish (Ivory white Fluorescence) or even sealer, as a clear over varnish.
Brick red Walnut oil varnish - Reminiscent of brick red Cremonese varnishes. Sandarac/Walnut oil based.
Use: Coloured varnish - Basis for coloured varnishes and paints - Coloured over varnish.
While drying, the initial brown colour changes to a lightfast magnificent warm red with browntones in thicker layers.
Linea Cremonese Varnishes
Please see the Linea Cremonese page for these. | 
