DOI Page / Citation link:
https://doi.org/10.11588/diglit.68796#0127
chap, in Technicalities of Fresco 107
have paid the artist to linger too long over any one por-
tion. The actual handling of the pigments would natu-
rally vary somewhat according to the individuality of the
painter, but a regular routine was indispensable for securing
rapidity and uniformity of practice. Cennino prescribes
careful and distinct outlining of every form, which would
ensure clearness of effect. Each colour was to be mixed
in three shades, dark, middle and light, and the use of
these prepared tints would result in breadth and simplicity
admirably in keeping with the decorative style.
§ 71. The Master at work.
We may accordingly imagine our painter setting to
work somewhat as follows.
First, with a long brush of squirrel’s hair dipped in red
ochre, he carefully outlines the features of the figure before
him, drawing on his imagination for the expression, or
referring to a sketch book of studies from nature he has
open at his side. Where a bit of foreshortening adds a special
element of difficulty he sets one of the apprentices up on
the scaffolding to serve as temporary model. So full a
body of tradition has come down to him from the past in
the form of conventions in the treatment of the nude or of
drapery, so regularly do the stages in the technical execu-
tion follow each other, that the work proceeds rapidly,
smoothly, and without effort. The shadows under the
brows, below the nostrils, and round the chin are laid in
broadly with terra verte, and the darkest of the three flesh
tints is then brought down to and fused with it by dexterous
blending of the wet pigments upon a surface which preserves
their dampness. These half-tones are then modelled on
the other side into the main tints of the flesh. White may
then be used in decided touches for the high lights, and
have paid the artist to linger too long over any one por-
tion. The actual handling of the pigments would natu-
rally vary somewhat according to the individuality of the
painter, but a regular routine was indispensable for securing
rapidity and uniformity of practice. Cennino prescribes
careful and distinct outlining of every form, which would
ensure clearness of effect. Each colour was to be mixed
in three shades, dark, middle and light, and the use of
these prepared tints would result in breadth and simplicity
admirably in keeping with the decorative style.
§ 71. The Master at work.
We may accordingly imagine our painter setting to
work somewhat as follows.
First, with a long brush of squirrel’s hair dipped in red
ochre, he carefully outlines the features of the figure before
him, drawing on his imagination for the expression, or
referring to a sketch book of studies from nature he has
open at his side. Where a bit of foreshortening adds a special
element of difficulty he sets one of the apprentices up on
the scaffolding to serve as temporary model. So full a
body of tradition has come down to him from the past in
the form of conventions in the treatment of the nude or of
drapery, so regularly do the stages in the technical execu-
tion follow each other, that the work proceeds rapidly,
smoothly, and without effort. The shadows under the
brows, below the nostrils, and round the chin are laid in
broadly with terra verte, and the darkest of the three flesh
tints is then brought down to and fused with it by dexterous
blending of the wet pigments upon a surface which preserves
their dampness. These half-tones are then modelled on
the other side into the main tints of the flesh. White may
then be used in decided touches for the high lights, and