DOI Page / Citation link:
https://doi.org/10.11588/diglit.61666#0030
windows described below, flanked by beveled, notched strips. Both the middle
soffit and the side soffits of this triforium are decorated with circles enclosing
rosettes and with four-petaled flowers in the spaces between the circles; the
diversity is given by the inner contours of the circles and by the use of different
separating flowers; cf. Fig. 3. These stuccoes of the triforia of the presbytery give
a rich color effect. The raised parts are painted gold, against a blue-green ground,
to harmonize with the mellow splendor of the mosaics. Whether or not the present
coloring corresponds to the original condition of the stuccoes we cannot tell, and
no coloring is discernible on the other stuccoes of the building. Perhaps a careful
investigation of the stucco fragments now concealed behind the aisle vaults might
reveal traces of ancient coloring, if such existed.
Apart from these hidden remains, the only fragments of stucco yet to describe are
those in the arches of six windows of the lower aisle. Te design for the window
decoration is very simple and is carried out in the easiest way, with moulds. It con-
sists of a wide ground on which is a narrow course of laurel leaves, disposed longi-
tudinally, in groups of three; cf. Pl. II, 5. Four of these succeeding groups have been
formed in one mould, four being as many as the bend of the arch would allow to
be applied in a comparatively flat strip. Consequently, after every group of four we
find a slight break in the course, and though the same four leaves are repeated in
all the groups within a single group we find each leaf perfectly distinct an individual:
the mould itself has been formed free-hand.
The stuccoes of San Vitale are of a comparatively soft variety, so that even with
care they would inevitably have suffered. But in spite of their frailty they must in
their original condition have made a convenient and cheap way of giving a mural
finish that would be in place with all the richness of the mosaics and marbles. Their
adjustment to the available spaces is not schematic, yet it indicates a general laying-
out of the patterns in advance; moulds, as we have remarked, were very little used.
In addition to the trowel the stuccoworkers had finer cutting and modeling instru-
ments, particularly the invaluable thumb. In fact, the modeling is as suggestive of
the personal pride and facile skill of good artisans as is the easy evolution of the
designs over the irregular ground. The undulating surfaces of wall and vault, the
26
soffit and the side soffits of this triforium are decorated with circles enclosing
rosettes and with four-petaled flowers in the spaces between the circles; the
diversity is given by the inner contours of the circles and by the use of different
separating flowers; cf. Fig. 3. These stuccoes of the triforia of the presbytery give
a rich color effect. The raised parts are painted gold, against a blue-green ground,
to harmonize with the mellow splendor of the mosaics. Whether or not the present
coloring corresponds to the original condition of the stuccoes we cannot tell, and
no coloring is discernible on the other stuccoes of the building. Perhaps a careful
investigation of the stucco fragments now concealed behind the aisle vaults might
reveal traces of ancient coloring, if such existed.
Apart from these hidden remains, the only fragments of stucco yet to describe are
those in the arches of six windows of the lower aisle. Te design for the window
decoration is very simple and is carried out in the easiest way, with moulds. It con-
sists of a wide ground on which is a narrow course of laurel leaves, disposed longi-
tudinally, in groups of three; cf. Pl. II, 5. Four of these succeeding groups have been
formed in one mould, four being as many as the bend of the arch would allow to
be applied in a comparatively flat strip. Consequently, after every group of four we
find a slight break in the course, and though the same four leaves are repeated in
all the groups within a single group we find each leaf perfectly distinct an individual:
the mould itself has been formed free-hand.
The stuccoes of San Vitale are of a comparatively soft variety, so that even with
care they would inevitably have suffered. But in spite of their frailty they must in
their original condition have made a convenient and cheap way of giving a mural
finish that would be in place with all the richness of the mosaics and marbles. Their
adjustment to the available spaces is not schematic, yet it indicates a general laying-
out of the patterns in advance; moulds, as we have remarked, were very little used.
In addition to the trowel the stuccoworkers had finer cutting and modeling instru-
ments, particularly the invaluable thumb. In fact, the modeling is as suggestive of
the personal pride and facile skill of good artisans as is the easy evolution of the
designs over the irregular ground. The undulating surfaces of wall and vault, the
26