DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0098
30
FRESCO PAINTING.
on the pictures. The sunshine is generally used for producing these
shadows, as it marks the shadow of the figure on the ground with
harder outlines than an artificial light would produce, and drawing
the whole of their picture from this, they make the shadows which
one figure throws upon another, and so the cartoons and the picture,
owing to the trouble which is taken in order to give greater per-
fection and force, are better finished, and have such relief as to
appear as if starting from the picture ; and this causes the work to
appear finer, and more highly finished. When these cartoons are
used for painting in fresco or upon walls, a piece must be cut off
every day at the joining, and traced upon the wall, which should be
plastered over with lime, and made very smooth. This piece of the
cartoon is put in the place where the figure is to be painted, and is
countersigned in order that, the next day, when another piece is to
be joined on to it, its place may be known exactly, and no error
may arise. The outlines of this piece are then traced with an iron
stile on to the intonaco of lime, which, being wet, yields to the
paper and thus receives the marks. After this, the cartoon is taken
off, and the colours are laid on according to those lines which are
traced upon the wall, and the painting in fresco or on walls is execu-
ted. For paintings on canvass the same sort of tracing is used,
except, that the cartoon is all in one piece, and that it is necessary
to cover over the back of the cartoon with charcoal or black powder,
in order that afterwards, when it is marked over with the iron stile,
it may be drawn or traced on the canvass or panel. And the rea-
son of dividing the cartoons into compartments is, that the work
may be true and in the proper proportion. There are many painters
who do not use cartoons for oil pictures, but when painting in fresco
they cannot be dispensed with.
The author of this invention had certainly a very happy idea, con-
sidering that, in the cartoons, we can see the effect of the whole
painting, and that they may be corrected and drawn upon until they
are approved of, which cannot be done afterwards to the picture
itself.
Of painting on walls, and why it is called fresco-paint-
ing.—Of every kind of painting practised by artists, painting on
walls is the finest and most masterly, because it consists in doing in
one day only, that which in other methods can only be accomplished
in many. Fresco painting was much in use among the ancients, and
FRESCO PAINTING.
on the pictures. The sunshine is generally used for producing these
shadows, as it marks the shadow of the figure on the ground with
harder outlines than an artificial light would produce, and drawing
the whole of their picture from this, they make the shadows which
one figure throws upon another, and so the cartoons and the picture,
owing to the trouble which is taken in order to give greater per-
fection and force, are better finished, and have such relief as to
appear as if starting from the picture ; and this causes the work to
appear finer, and more highly finished. When these cartoons are
used for painting in fresco or upon walls, a piece must be cut off
every day at the joining, and traced upon the wall, which should be
plastered over with lime, and made very smooth. This piece of the
cartoon is put in the place where the figure is to be painted, and is
countersigned in order that, the next day, when another piece is to
be joined on to it, its place may be known exactly, and no error
may arise. The outlines of this piece are then traced with an iron
stile on to the intonaco of lime, which, being wet, yields to the
paper and thus receives the marks. After this, the cartoon is taken
off, and the colours are laid on according to those lines which are
traced upon the wall, and the painting in fresco or on walls is execu-
ted. For paintings on canvass the same sort of tracing is used,
except, that the cartoon is all in one piece, and that it is necessary
to cover over the back of the cartoon with charcoal or black powder,
in order that afterwards, when it is marked over with the iron stile,
it may be drawn or traced on the canvass or panel. And the rea-
son of dividing the cartoons into compartments is, that the work
may be true and in the proper proportion. There are many painters
who do not use cartoons for oil pictures, but when painting in fresco
they cannot be dispensed with.
The author of this invention had certainly a very happy idea, con-
sidering that, in the cartoons, we can see the effect of the whole
painting, and that they may be corrected and drawn upon until they
are approved of, which cannot be done afterwards to the picture
itself.
Of painting on walls, and why it is called fresco-paint-
ing.—Of every kind of painting practised by artists, painting on
walls is the finest and most masterly, because it consists in doing in
one day only, that which in other methods can only be accomplished
in many. Fresco painting was much in use among the ancients, and