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In the case of wall paintings, raking light helps show preparatory techniques such as incisions in the plaster support.The term raking light may also be used to describe a strongly angled light represented in illusionist painting, although not strictly between 5º and 30º.Under raking light, tool marks, paint handling, canvas weave, surface imperfections and restorations can be visualized better than with light coming from different angles.In some instances raking light may help reveal pentimenti or changes in an artist's intention.There have been some doubts concerning its benefits more recently, especially since the Greenwich Comparative Lining Conference of 1974.The procedure as carried out in the nineteenth century is described by Theodore Henry Fielding in his (1847).Fielding cautions that "the greatest care must be taken that the hand does not stop for an instant, or the mark of the iron will be so impressed on the painting, that nothing can obliterate it." The picture was then nailed to a new stretcher, and the paper was washed off with a sponge and cold water.Fielding also describes the process for the complete removal and replacement of the canvas.
The terms in this glossary are cross-linked or externally linked Raking light is the illumination of objects from a light source at a strongly oblique angle almost parallel to the object's surface (between 5º and 30º with respect to the examined surface).
However, it is likely that the world of exquisite refinery of Vermeer's compositions did not accurately portray the world he actually observed. Willemijn Fock, a historian of the decorative arts, has demonstrated that floors paved with marble tiles, one of the most ubiquitous features of Dutch interior paintings, were extremely rare in the Dutch seventeenth-century houses.
Only in the houses of the very wealthy were floors of this type were occasionally found, although they were usually confined to smaller spaces such as (the entrance or corridor) where they would be most likely to be admired by incoming guests.
This glossary contains a number of recurrent terms found on the present site which may not be clear to all readers, especially when employed within the context of an art discussion.
Some of these terms, signaled by an icon of the Vermeer's monogram and signature, are also discussed as they relate to specifically Vermeer's art.