DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62783#0041
IN FRESCO PAINTING.
xxxi
Sinopia is mentioned by Borghini (Riposo p. 166), incidentally,
when speaking of cinabrese. He describes it nearly in the words of
Cennino, who mentions it as a red colour called light cinabrese, and
composed of two parts of Sinopia and one of Bianco Sangiovanni, (a
white made of very white and pure lime.) These two pigments
were therefore prepared from the same mineral.
Requeno, a learned Spaniard resident at Rome, in his work written
in Italian, entitled Saggio Storico sul Ristabilimento dell’ Antica Arte
de’ Greci e Romani Pittori, (vol. i. p. 258.) commenting on the
colours used by the ancients, observes respecting Rubrica, that “ this
was our mineral red earth. Vitruvius cites that of the Island of
Majorca in Spain among the finest sorts, and I have always thought
that the ancient Rubrica might be the fine Spanish Almagre.”
The only red pigment mentioned by Paul Lomazzo (Trattato della
Pittura, p. 191, 192.) as proper to be used in fresco was terra rossa
detta Majorica.& The descriptions of Pliny, Theophrastus, and Geo.
Agricola, prove that Sinopia was brought from Majorca, one of the
Balearic Islands.
The terms Rosso d’ Inghilterra, Bruno d’ Inghilterra, and Rouge
Violet appear synonymous, or nearly so. Pozzo says that this colour
(always supposing them synonymous), when used on very wet lime,
appears like lake when dry. Malvasia (Felsina Pittrice, vol i. p. 349)
says, that Bruno d’ Inghilterra was much used then, i. e. in the
latter part of the seventeenth century, in fresco, instead of lake.
Pacheco (Tratado de la Pintura, p. 366) directs Almagre de
Levante to be used instead of Vermilion for flesh tints and light
draperies in fresco. In p. 350 he says, that this colour is admirable
in all kinds of painting. It will be observed this author calls the
pigment “ Almagre de Levante,” an additional reason for supposing
it to be Sinopia.
Palomino (vol 2, p. 149) enumerates among the mineral colours
used in fresco painting, Albin and Pabonazo, which he says do not
change, and supply the place of carmine so well, that when used on
a The beautiful vases of Majolica, of which Cennino speaks, (c. 107.) were
probably so called from their having been formed, or at least, principally coloured
with this mineral.—See “ Traite des Arts Ceramiques par. M. de Brongniart.”
Vol. ii. Page 55-59.
xxxi
Sinopia is mentioned by Borghini (Riposo p. 166), incidentally,
when speaking of cinabrese. He describes it nearly in the words of
Cennino, who mentions it as a red colour called light cinabrese, and
composed of two parts of Sinopia and one of Bianco Sangiovanni, (a
white made of very white and pure lime.) These two pigments
were therefore prepared from the same mineral.
Requeno, a learned Spaniard resident at Rome, in his work written
in Italian, entitled Saggio Storico sul Ristabilimento dell’ Antica Arte
de’ Greci e Romani Pittori, (vol. i. p. 258.) commenting on the
colours used by the ancients, observes respecting Rubrica, that “ this
was our mineral red earth. Vitruvius cites that of the Island of
Majorca in Spain among the finest sorts, and I have always thought
that the ancient Rubrica might be the fine Spanish Almagre.”
The only red pigment mentioned by Paul Lomazzo (Trattato della
Pittura, p. 191, 192.) as proper to be used in fresco was terra rossa
detta Majorica.& The descriptions of Pliny, Theophrastus, and Geo.
Agricola, prove that Sinopia was brought from Majorca, one of the
Balearic Islands.
The terms Rosso d’ Inghilterra, Bruno d’ Inghilterra, and Rouge
Violet appear synonymous, or nearly so. Pozzo says that this colour
(always supposing them synonymous), when used on very wet lime,
appears like lake when dry. Malvasia (Felsina Pittrice, vol i. p. 349)
says, that Bruno d’ Inghilterra was much used then, i. e. in the
latter part of the seventeenth century, in fresco, instead of lake.
Pacheco (Tratado de la Pintura, p. 366) directs Almagre de
Levante to be used instead of Vermilion for flesh tints and light
draperies in fresco. In p. 350 he says, that this colour is admirable
in all kinds of painting. It will be observed this author calls the
pigment “ Almagre de Levante,” an additional reason for supposing
it to be Sinopia.
Palomino (vol 2, p. 149) enumerates among the mineral colours
used in fresco painting, Albin and Pabonazo, which he says do not
change, and supply the place of carmine so well, that when used on
a The beautiful vases of Majolica, of which Cennino speaks, (c. 107.) were
probably so called from their having been formed, or at least, principally coloured
with this mineral.—See “ Traite des Arts Ceramiques par. M. de Brongniart.”
Vol. ii. Page 55-59.