DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62783#0106
38
FRESCO PAINTING.
time of not falling into any very great mistake, nor even into a
confusion of lines. So that it is quite clear, that by this means, we
avoid making a great number of lines, which are frequently drawn by
way of trial, before we make the right one ; and however expert a
person may be in design, he cannot help committing such errors, for
it is impossible to do otherwise.
But it is necessary, at the same time, to caution persons not to
trust too much to these first lines, nor, while placing them on the
cartoons, by means of these squares, to throw aside their judgment,
which enables them to correct many of these lines in the small
design, and copy them afresh in their proper places, or wherever
they may seem needful. This is rendered evident by the fact, that
great errors may be concealed in small drawings, while in those on
a large scale, every slight error is detected; so that a thorough
examination is necessary, to change false outlines and to make good
ones, without having any regard to the limits given by the squares.
And these are the methods which I have frequently observed and
considered, in the designs and cartoons of Raffaello, of Perino, of
Giulio,a of Daniele, and of Taddeo Zuccaro,b and of other good
painters who are still living, and who all affirm the truth of what I
have said.
Of the different modes of preparation.—But to return to the
cartoons. These are made in various manners and with various
materials, as I have already shewn with regard to the small designs,
and although there are but few in water colours, there are some very
highly finished in other modes. Those who prepare them upon
white paper, after having made the outlines in the above mentioned
manner, in order to shorten the trouble of shading, should rub lightly
on the parts to be shaded with a rag full either of pounded charcoal
or black lead c in powder, and the darker shades should be pounced
a Giulio Romano, the greatest of all the pupils of Raffaello, whose heir he was,
conjointly with Gio. Francesco Penni: Giulio’s principal works are in fresco.
He painted the palace at Mantua and the Palazzo del Te. Lanzi says, that the
beautiful paintings of the story of Psyche, have been painted over by a modern
hand. He diedin 1546. Vasari andLanzi, Vol. II. p. 74, 75, 87. Vol. IV. p. 12.—Ed.
b Taddeo Zuccaro, was of the Roman school, and an imitator of Raffaello.
He was born in 1529, and died in 1566. See Lanzi, Vol. II. p. 87, 89, 92.
Vasari.—Ed.
c Lapis nero.—Ed.
FRESCO PAINTING.
time of not falling into any very great mistake, nor even into a
confusion of lines. So that it is quite clear, that by this means, we
avoid making a great number of lines, which are frequently drawn by
way of trial, before we make the right one ; and however expert a
person may be in design, he cannot help committing such errors, for
it is impossible to do otherwise.
But it is necessary, at the same time, to caution persons not to
trust too much to these first lines, nor, while placing them on the
cartoons, by means of these squares, to throw aside their judgment,
which enables them to correct many of these lines in the small
design, and copy them afresh in their proper places, or wherever
they may seem needful. This is rendered evident by the fact, that
great errors may be concealed in small drawings, while in those on
a large scale, every slight error is detected; so that a thorough
examination is necessary, to change false outlines and to make good
ones, without having any regard to the limits given by the squares.
And these are the methods which I have frequently observed and
considered, in the designs and cartoons of Raffaello, of Perino, of
Giulio,a of Daniele, and of Taddeo Zuccaro,b and of other good
painters who are still living, and who all affirm the truth of what I
have said.
Of the different modes of preparation.—But to return to the
cartoons. These are made in various manners and with various
materials, as I have already shewn with regard to the small designs,
and although there are but few in water colours, there are some very
highly finished in other modes. Those who prepare them upon
white paper, after having made the outlines in the above mentioned
manner, in order to shorten the trouble of shading, should rub lightly
on the parts to be shaded with a rag full either of pounded charcoal
or black lead c in powder, and the darker shades should be pounced
a Giulio Romano, the greatest of all the pupils of Raffaello, whose heir he was,
conjointly with Gio. Francesco Penni: Giulio’s principal works are in fresco.
He painted the palace at Mantua and the Palazzo del Te. Lanzi says, that the
beautiful paintings of the story of Psyche, have been painted over by a modern
hand. He diedin 1546. Vasari andLanzi, Vol. II. p. 74, 75, 87. Vol. IV. p. 12.—Ed.
b Taddeo Zuccaro, was of the Roman school, and an imitator of Raffaello.
He was born in 1529, and died in 1566. See Lanzi, Vol. II. p. 87, 89, 92.
Vasari.—Ed.
c Lapis nero.—Ed.