DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0060
1
OF THE COLOURS USED
this was one of the expensive colours, which were always supplied hy
the owner of the picture. Pacheco says that in his time it was not
used in Spain because it was so scarce and dear; but we find from
Laguna’s Commentary on Dioscorides (p. 538) that it had been used
in Spain prior to 1570, and that its colour was thought so fine that
it was used to paint the royal chapels. Palomino, however, gives
another reason why it was not used in fresco, namely, “ that the lime
so acts upon it, that it fades, and after a short time the lights cannot
be distinguished from the darks.” He directs that for interiors, the
Ultramarine is to be laid on in secco, with goat’s milk. I have
found repeated instances mentioned of the use of Ultramarine in
secco on fresco paintings, but not one of its use in buon-fresco.
Palomino mentions yet another pigment used in secco on walls,
namely, Azul fine, or Azul de Santo Domingo, which appears to have
been an artificial pigment made from copper, probably synonymous
with the Azurri di Biadetti of Borghini, and the modern “ cendres
bleues.” But it is unnecessary to describe artificial pigments in this
place.
French Ultramarine has also been tried in fresco, but I understand
from high authority is not approved. Indigo was used occasionally
in fresco by Cennino and Palomino, the latter, however, observes,
this colour should never be laid on the lime itself, as it always
perishes.” Pozzo says, it could be used in fresco during the summer,
but not in winter, because it is a bad drier.
To conclude, it is well ascertained that the brothers Campi of
Cremona, Bernardino Gatti (Il Sogaro), and Guercino (I. Rep. pp.
27, 40) possessed a blue pigment, which has proved permanent in
fresco painting. It appears also that a blue pigment was used in
Italy which was lost sometime between 1590 and 1670, and that from
the date of Guercino’s paintings, it is very probable that he used it,
that this pigment was called Azzurro de Vena Naturale, which there
is strong reason for supposing to be native blue carbonate of copper.
With regard to this mineral itself it is a natural production said to
consist of carbonate of copper, alumina, and lime,a and is, I believe,
produced in sufficient quantities for use as a pigment in fresco.
a According to Pelletier it is composed of oxide of copper 50 parts, carbonic
acid 30, oxygen 10, lime 7, water 3, = 100.
OF THE COLOURS USED
this was one of the expensive colours, which were always supplied hy
the owner of the picture. Pacheco says that in his time it was not
used in Spain because it was so scarce and dear; but we find from
Laguna’s Commentary on Dioscorides (p. 538) that it had been used
in Spain prior to 1570, and that its colour was thought so fine that
it was used to paint the royal chapels. Palomino, however, gives
another reason why it was not used in fresco, namely, “ that the lime
so acts upon it, that it fades, and after a short time the lights cannot
be distinguished from the darks.” He directs that for interiors, the
Ultramarine is to be laid on in secco, with goat’s milk. I have
found repeated instances mentioned of the use of Ultramarine in
secco on fresco paintings, but not one of its use in buon-fresco.
Palomino mentions yet another pigment used in secco on walls,
namely, Azul fine, or Azul de Santo Domingo, which appears to have
been an artificial pigment made from copper, probably synonymous
with the Azurri di Biadetti of Borghini, and the modern “ cendres
bleues.” But it is unnecessary to describe artificial pigments in this
place.
French Ultramarine has also been tried in fresco, but I understand
from high authority is not approved. Indigo was used occasionally
in fresco by Cennino and Palomino, the latter, however, observes,
this colour should never be laid on the lime itself, as it always
perishes.” Pozzo says, it could be used in fresco during the summer,
but not in winter, because it is a bad drier.
To conclude, it is well ascertained that the brothers Campi of
Cremona, Bernardino Gatti (Il Sogaro), and Guercino (I. Rep. pp.
27, 40) possessed a blue pigment, which has proved permanent in
fresco painting. It appears also that a blue pigment was used in
Italy which was lost sometime between 1590 and 1670, and that from
the date of Guercino’s paintings, it is very probable that he used it,
that this pigment was called Azzurro de Vena Naturale, which there
is strong reason for supposing to be native blue carbonate of copper.
With regard to this mineral itself it is a natural production said to
consist of carbonate of copper, alumina, and lime,a and is, I believe,
produced in sufficient quantities for use as a pigment in fresco.
a According to Pelletier it is composed of oxide of copper 50 parts, carbonic
acid 30, oxygen 10, lime 7, water 3, = 100.