DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62783#0088
20
FRESCO PAINTING.
and, so to speak, astringent, as the rinzaffato ought to be, they will,
on account of their crudity, show many cracks as they dry. And
if the rinzaffato is mild, as the intonaco should be, it will not adhere
sufficiently to the wall, but will fall off in pieces. The more coats
of it are given, the better will the surface receive the polish, and be
enabled to withstand the effects of the weather. I have seen some
of the more ancient specimens which had nine coats, one upon the
other. It is necessary for the first of these to be rough, containing
pit sand and pounded brick, the pieces of which should not be too
small, but as big as acorns, or in pieces the size of the finger, and
sometimes the size of a palm. For the arricciato, river sand is best,
being less liable to crack; this arricciato should also be rough,
because the coats which are to be laid on afterwards will not adhere
to smooth surfaces. The last coat must be very white, like
marble ; in fact, very white pounded stone should be used instead of
sand, and it will be sufficient for this coat to be half a finger’s breadth
in thickness ; because, if it is made too thick, it dries with difficulty.
I have seen some persons, who, in order to save expense, do not
make this coat thicker than the sole of a shoe. The arricciato
must be mixed according as it is nearer to the first, or to the second
coat. In the masses of stone, in stone-quarries, there are found
certain veins, very much resembling transparent alabaster, which are
neither marble nor gesso; but of a certain middle nature, between
the one and the other, and which are very apt to crumble. When
these are pounded, and used instead of sand, they sparkle like
shining marble. In many places are seen sharp points projecting
from the wall, in order to hold the intonachi; and time has shewn
us that these are better made of bronze than of iron. I approve
very much of those who, instead of nails, insert between the stones
certain pieces of stone, or flints, so as to project; but, for this
purpose, a wooden mallet must be used, and the fresher and rougher
the wall is, the better it will hold the rinzaffato, the arricciato, and
the intonaco ; therefore, if, while building, and while the work is
being done, you apply the rinzaffato, although thinly, you will cause
the arricciato and the intonaco to adhere to it very strongly,—so as
never to separate. You may carry on any of these processes during
the prevalence of the south wind ; but if you apply the intonaco
while the north wind blows, or during severe cold, or great heat,
the intonaco will immediately become rough or uneven.
“ Finally,—the last coats are of two sorts ; they are either plastered
FRESCO PAINTING.
and, so to speak, astringent, as the rinzaffato ought to be, they will,
on account of their crudity, show many cracks as they dry. And
if the rinzaffato is mild, as the intonaco should be, it will not adhere
sufficiently to the wall, but will fall off in pieces. The more coats
of it are given, the better will the surface receive the polish, and be
enabled to withstand the effects of the weather. I have seen some
of the more ancient specimens which had nine coats, one upon the
other. It is necessary for the first of these to be rough, containing
pit sand and pounded brick, the pieces of which should not be too
small, but as big as acorns, or in pieces the size of the finger, and
sometimes the size of a palm. For the arricciato, river sand is best,
being less liable to crack; this arricciato should also be rough,
because the coats which are to be laid on afterwards will not adhere
to smooth surfaces. The last coat must be very white, like
marble ; in fact, very white pounded stone should be used instead of
sand, and it will be sufficient for this coat to be half a finger’s breadth
in thickness ; because, if it is made too thick, it dries with difficulty.
I have seen some persons, who, in order to save expense, do not
make this coat thicker than the sole of a shoe. The arricciato
must be mixed according as it is nearer to the first, or to the second
coat. In the masses of stone, in stone-quarries, there are found
certain veins, very much resembling transparent alabaster, which are
neither marble nor gesso; but of a certain middle nature, between
the one and the other, and which are very apt to crumble. When
these are pounded, and used instead of sand, they sparkle like
shining marble. In many places are seen sharp points projecting
from the wall, in order to hold the intonachi; and time has shewn
us that these are better made of bronze than of iron. I approve
very much of those who, instead of nails, insert between the stones
certain pieces of stone, or flints, so as to project; but, for this
purpose, a wooden mallet must be used, and the fresher and rougher
the wall is, the better it will hold the rinzaffato, the arricciato, and
the intonaco ; therefore, if, while building, and while the work is
being done, you apply the rinzaffato, although thinly, you will cause
the arricciato and the intonaco to adhere to it very strongly,—so as
never to separate. You may carry on any of these processes during
the prevalence of the south wind ; but if you apply the intonaco
while the north wind blows, or during severe cold, or great heat,
the intonaco will immediately become rough or uneven.
“ Finally,—the last coats are of two sorts ; they are either plastered