DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0101
CHAPTER VI.
DIRECTIONS AND OBSERVATIONS OF RAFFAELLO BORGHINI.
CARNEGIE LIBRARY, AYR,
OF BORGHINI.
Although the work of Borghini, entitled “ Il Riposo,” published for
the first time in 1584, has gone through three editions, little is known
respecting the history of his life, except that his mother, as he himself
mentions in the Riposo, page 399, was the daughter of Ridolfo
Ghirlandaio, after whom he was also called Ridolfo. In the preface
to the second edition, it is stated, that he understood thoroughly,
not only the principles of the arts of painting and sculpture, but
also all the arts connected with them. He was personally acquainted
with the eminent painters and sculptors of his time, and his work
contains many of their vivd voce precepts. Borghini has borrowed
many of the recipes contained in the second book of the Riposo from
Cennino’s treatise, without, however, acknowledging the obligation.
Bossi, in his work on the Cenacolo of Leonardo da Vinci, says, the
Riposo of Borghini is more valuable for the style than the precepts.
DIRECTIONS AND OBSERVATIONS.
Whoever wishes to paint in fresco, must first lay an intonaco over so
much of the wall as is sufficient for one day’s work ; because if the
colours are not laid upon the lime, while it is fresh, it makes a kind of
crust, owing to the heat, or the cold, and the wind, which dulls and
spots all the work. It is therefore useful to wet the wall very frequently.
Having put on the intonaco, which should have its whiteness lowered
by means of sand, and a little black, so that it may appear of a neutral
tint, the cartoon, or a piece of the cartoon, must then be applied to
it. The piece of the cartoon must be marked in order to know which
piece comes next to it; then, with a stile of iron, or ivory, or of any
hard wood, trace upon it the marks and outlines of the cartoon, and the
DIRECTIONS AND OBSERVATIONS OF RAFFAELLO BORGHINI.
CARNEGIE LIBRARY, AYR,
OF BORGHINI.
Although the work of Borghini, entitled “ Il Riposo,” published for
the first time in 1584, has gone through three editions, little is known
respecting the history of his life, except that his mother, as he himself
mentions in the Riposo, page 399, was the daughter of Ridolfo
Ghirlandaio, after whom he was also called Ridolfo. In the preface
to the second edition, it is stated, that he understood thoroughly,
not only the principles of the arts of painting and sculpture, but
also all the arts connected with them. He was personally acquainted
with the eminent painters and sculptors of his time, and his work
contains many of their vivd voce precepts. Borghini has borrowed
many of the recipes contained in the second book of the Riposo from
Cennino’s treatise, without, however, acknowledging the obligation.
Bossi, in his work on the Cenacolo of Leonardo da Vinci, says, the
Riposo of Borghini is more valuable for the style than the precepts.
DIRECTIONS AND OBSERVATIONS.
Whoever wishes to paint in fresco, must first lay an intonaco over so
much of the wall as is sufficient for one day’s work ; because if the
colours are not laid upon the lime, while it is fresh, it makes a kind of
crust, owing to the heat, or the cold, and the wind, which dulls and
spots all the work. It is therefore useful to wet the wall very frequently.
Having put on the intonaco, which should have its whiteness lowered
by means of sand, and a little black, so that it may appear of a neutral
tint, the cartoon, or a piece of the cartoon, must then be applied to
it. The piece of the cartoon must be marked in order to know which
piece comes next to it; then, with a stile of iron, or ivory, or of any
hard wood, trace upon it the marks and outlines of the cartoon, and the