DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62783#0025
IN FRESCO PAINTING.
XV
is used to draw on white and coloured paper. It is also dug in the
mountains of France, and other places, but the best comes from
Spain.”
De Piles, in his Elemens de Peinture, speaking of colours used in
fresco, observes,—“ Rouge violet is a natural earth, produced in
England, and employed in fresco painting instead of lake : and the
fresher the mortar is, on which this pigment is used, the more
beautiful is the colour. The ancients had another colour, which
was very proper for this kind of work and which very nearly
approached lake, but its composition is unknown to us. Some think
that it was a kind of minium.”
The Spanish painter and author, Pacheco (page 366), speaks of the
red pigment used instead of lake in fresco, by the name of “ Albin.”
This author says, “The Almagre de Levante supplies the place of
vermilion, in flesh and light red draperies, and Albin the place of
carmine.
The next author I shall quote, is the Spanish author Palomino,
who, in vol. 2, page 148-149, says, “Albin and Pabonazo a are mineral
colours, and are used in fresco painting, only tempered with water.
Albin and Pabonazo do not change, and are colours which supply
the place of carmine so well, that, being used on very fresh stucco,
they have sometimes deceived people, appearing to be carmine; and,
observe, that Pabonazo is a degree lower in tone than Albin, and this
is not sold in shops, but is procured from the mines of copper in the
kingdom of Jaen; and there, and in all Andalusia, painters and gilders
esteem it much, and it is even sold under the name of Almagre.”
Again, “ The crimson in fresco painting, is to be Albin and Pabonazo.”
II. Palom. page 151.
The last, and in point of date, one of the earliest of the modern
writers on the arts, Eraclius,b whom I shall quote, and whose work
a There are artificial pigments called in Italian Pavonazzo, which cannot be
used in fresco.
b De Artibus Romanorum. Eraclius is supposed to have lived between the 7th
and 13th centuries, since the latest author he quotes is Isodorus, who lived in
the 7th century. See Raspe on Oil Painting, p. 45.—The copy of this author’s
work published by Raspe is very imperfect; that which is preserved in the Bib-
liotheque Royale at Paris, contains many additional chapters and much valuable
information on early methods of painting, and substances used in the Art.
XV
is used to draw on white and coloured paper. It is also dug in the
mountains of France, and other places, but the best comes from
Spain.”
De Piles, in his Elemens de Peinture, speaking of colours used in
fresco, observes,—“ Rouge violet is a natural earth, produced in
England, and employed in fresco painting instead of lake : and the
fresher the mortar is, on which this pigment is used, the more
beautiful is the colour. The ancients had another colour, which
was very proper for this kind of work and which very nearly
approached lake, but its composition is unknown to us. Some think
that it was a kind of minium.”
The Spanish painter and author, Pacheco (page 366), speaks of the
red pigment used instead of lake in fresco, by the name of “ Albin.”
This author says, “The Almagre de Levante supplies the place of
vermilion, in flesh and light red draperies, and Albin the place of
carmine.
The next author I shall quote, is the Spanish author Palomino,
who, in vol. 2, page 148-149, says, “Albin and Pabonazo a are mineral
colours, and are used in fresco painting, only tempered with water.
Albin and Pabonazo do not change, and are colours which supply
the place of carmine so well, that, being used on very fresh stucco,
they have sometimes deceived people, appearing to be carmine; and,
observe, that Pabonazo is a degree lower in tone than Albin, and this
is not sold in shops, but is procured from the mines of copper in the
kingdom of Jaen; and there, and in all Andalusia, painters and gilders
esteem it much, and it is even sold under the name of Almagre.”
Again, “ The crimson in fresco painting, is to be Albin and Pabonazo.”
II. Palom. page 151.
The last, and in point of date, one of the earliest of the modern
writers on the arts, Eraclius,b whom I shall quote, and whose work
a There are artificial pigments called in Italian Pavonazzo, which cannot be
used in fresco.
b De Artibus Romanorum. Eraclius is supposed to have lived between the 7th
and 13th centuries, since the latest author he quotes is Isodorus, who lived in
the 7th century. See Raspe on Oil Painting, p. 45.—The copy of this author’s
work published by Raspe is very imperfect; that which is preserved in the Bib-
liotheque Royale at Paris, contains many additional chapters and much valuable
information on early methods of painting, and substances used in the Art.