DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62783#0084
16
FRESCO PAINTING.
deceive themselves in thinking that the ancients did not use artificial
colours on walls, but natural pigments only, and those chiefly of
earths. Of this mistake Vitruvius is sufficient evidence, since he
not only gives us an account of the artificial colours they used, but
also describes the composition of some of them?
Those persons, then, who profess the art should experiment with
the artificial colours, if they would employ them with the same
success as the ancients, it being understood that, at the present time,
colours of this description are not used in the same manner as they
were by the ancients ; they should study the subject and seek a
remedy for it; for it is not just that noblemen who love such works,
and who cause them to be executed, should be deprived of that
brilliancy which artificial pigments (of which there are so many) give
to the picture by the negligence and insufficiency of the artist; and
especially they should work with great care, because the colours of
those earthy pigments that they use are extremely harsh and crude,
and bring with them an inexpressible feeling of melancholy.13
a The error appears to be on the part of Guevara. Requeno has proved
satisfactorily that the ancients did not use artificial colours on damp walls. See
the note, pages 13 and 14, ante.—Ed.
b I have spoken of the paintings in fresco of Cincinato and Cambiaso in the
Escurial as familiar examples. If we seek for examples at a distance from home,
I do not know whether Raffaello da Urbino, Michael Angelo, and other artists
of that period in Italy, prepared their walls and roofs in the manner now
practised, and as Palomino describes, or whether they observed any other method
more consonant with the doctrine of Vitruvius; as some persons think. It is
certain that the “ Last Judgment” above the altar in the Sistine Chapel in the
Vatican, and the roof of that building, have been well preserved for about 300
years; and the same would have happened with the paintings of Raffaello, if it
had not been for the continual copying, (tracing,) and handling of them since
they were painted, by which they have suffered, and suffer still in some parts :
these injuries should be carefully repaired. The pictures of these artists are as
highly finished as is necessary for the distance at which they are to be viewed.—
Ponz.
FRESCO PAINTING.
deceive themselves in thinking that the ancients did not use artificial
colours on walls, but natural pigments only, and those chiefly of
earths. Of this mistake Vitruvius is sufficient evidence, since he
not only gives us an account of the artificial colours they used, but
also describes the composition of some of them?
Those persons, then, who profess the art should experiment with
the artificial colours, if they would employ them with the same
success as the ancients, it being understood that, at the present time,
colours of this description are not used in the same manner as they
were by the ancients ; they should study the subject and seek a
remedy for it; for it is not just that noblemen who love such works,
and who cause them to be executed, should be deprived of that
brilliancy which artificial pigments (of which there are so many) give
to the picture by the negligence and insufficiency of the artist; and
especially they should work with great care, because the colours of
those earthy pigments that they use are extremely harsh and crude,
and bring with them an inexpressible feeling of melancholy.13
a The error appears to be on the part of Guevara. Requeno has proved
satisfactorily that the ancients did not use artificial colours on damp walls. See
the note, pages 13 and 14, ante.—Ed.
b I have spoken of the paintings in fresco of Cincinato and Cambiaso in the
Escurial as familiar examples. If we seek for examples at a distance from home,
I do not know whether Raffaello da Urbino, Michael Angelo, and other artists
of that period in Italy, prepared their walls and roofs in the manner now
practised, and as Palomino describes, or whether they observed any other method
more consonant with the doctrine of Vitruvius; as some persons think. It is
certain that the “ Last Judgment” above the altar in the Sistine Chapel in the
Vatican, and the roof of that building, have been well preserved for about 300
years; and the same would have happened with the paintings of Raffaello, if it
had not been for the continual copying, (tracing,) and handling of them since
they were painted, by which they have suffered, and suffer still in some parts :
these injuries should be carefully repaired. The pictures of these artists are as
highly finished as is necessary for the distance at which they are to be viewed.—
Ponz.