DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0108
40
FRESCO PAINTING.
serves for pouncing the outlines on what is to be the ground of the
picture, and particularly upon lime, although many persons, caring
little about the preservation of their cartoon, trace directly from it ;
but the first cartoon should always be kept as a model, while paintin g
the coloured picture. The first method is more convenient.
I think I have now treated at sufficient length, and with great
clearness and brevity, of all those modes of drawing, of which I had
promised to speak, as being the most necessary and easy, for the
assistance of those who wish to attain excellence quickly, having
told them every convenient remedy for those things which are either
uncertain or difficult. We have now, therefore, to take the same
course in treating of colours, which is indeed a very laborious and
difficult part, and the most necessary part of the work; but I hope
in a similar manner to make it clearly and easily understood. We
will treat first of the composition of the colours, then of the manner
of using, mixing, and uniting them together, so that they may re-
main bright and clear ; the whole being the result of practice and
experience, which we have both seen, and been taught by the best
and most skilful artists who have preceded us.
Of the different kinds and sorts of colours, and of their particular
natures; how they are prepared in different ways to produce a better
effect in the work; with what and how many liquids they are used;
how the colours are made to obtain any tint that may be wished, and
especially flesh colours, with their various tints according to the
complexions of the persons, and how they ought to appear when finished.
—From Book II. Chap. VII. of Armenino.
Of the colours proper to be used.—I believe it is known, even
to the most indifferent painters, that all the colours which are used
in painting, must be of two sorts, namely, natural, which are also
called mineral, and artificial. These are commonly mixed for working
with three liquids, which are water, glue and oil: the first is called
PAINTING IN FRESCO, the Second PAINTING IN DISTEMPER (or SCCCO),
and the third painting in oil. But it is well known, that artificial
colours never do well in fresco, nor can any art make them last long
FRESCO PAINTING.
serves for pouncing the outlines on what is to be the ground of the
picture, and particularly upon lime, although many persons, caring
little about the preservation of their cartoon, trace directly from it ;
but the first cartoon should always be kept as a model, while paintin g
the coloured picture. The first method is more convenient.
I think I have now treated at sufficient length, and with great
clearness and brevity, of all those modes of drawing, of which I had
promised to speak, as being the most necessary and easy, for the
assistance of those who wish to attain excellence quickly, having
told them every convenient remedy for those things which are either
uncertain or difficult. We have now, therefore, to take the same
course in treating of colours, which is indeed a very laborious and
difficult part, and the most necessary part of the work; but I hope
in a similar manner to make it clearly and easily understood. We
will treat first of the composition of the colours, then of the manner
of using, mixing, and uniting them together, so that they may re-
main bright and clear ; the whole being the result of practice and
experience, which we have both seen, and been taught by the best
and most skilful artists who have preceded us.
Of the different kinds and sorts of colours, and of their particular
natures; how they are prepared in different ways to produce a better
effect in the work; with what and how many liquids they are used;
how the colours are made to obtain any tint that may be wished, and
especially flesh colours, with their various tints according to the
complexions of the persons, and how they ought to appear when finished.
—From Book II. Chap. VII. of Armenino.
Of the colours proper to be used.—I believe it is known, even
to the most indifferent painters, that all the colours which are used
in painting, must be of two sorts, namely, natural, which are also
called mineral, and artificial. These are commonly mixed for working
with three liquids, which are water, glue and oil: the first is called
PAINTING IN FRESCO, the Second PAINTING IN DISTEMPER (or SCCCO),
and the third painting in oil. But it is well known, that artificial
colours never do well in fresco, nor can any art make them last long