DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62783#0117
ARMENINO.
49
Salviati,a who are very celebrated for their works. The lights must
then be laid on, in the manner which we have already mentioned.
Now this mode of painting soon betrays the ignorance of those
who are but little accustomed to it, because, all that has been badly
done, either through timidity, or by the ground being badly covered,
or the work being badly finished, begins to shew itself the next day;
and it should be known, that when the wall and the picture are quite
dry, every little defect will clearly appear, and such will be all
retouchings, spots, and colours laid one over another, and badly
covered over, or badly united together; so that it is always wTell to
work cautiously, in order not to fall into these great faults. Then,
at the end of the day, when all the part that has been plastered is
finished, the remainder is cut off carefully, on account of the rough
edge, in order that, the next day, fresh intonaco may be joined on to
it, without shewing the least mark of the joining, as piece is joined
on to piece, while the work is going on. The boys will then take
care to wash the brushes with clean water, and to arrange their
points, and to repair them well : and they must do the same thing
with the mixed tints, and the other colours, by pouring water into
them all, and particularly into the white which has been purified, of
which, as being the principal colour among them, greater care must
be taken not to let it dry. Having thus put all the things into their
proper places, the wall must be wetted again in the evening, and
must be soaked several times against the next morning, particularly
when it is very hot weather, in order that the intonaco may be kept
well wetted during the time you are at work, until all that you wish
to paint upon it is finished.
This is the method which is to be observed concerning painting
in fresco, and which, together with the above advice, should be, so
to speak, the foundation of all the pictures you paint. And you may
leave to foolish painters those secrets of theirs, which no one envies
them, of using vermilions and fine lakes; because, although they
make grounds for them, with various kinds of white, it is, neverthe-
less, well known that, in the long run, their pictures become ugly
daubs, because they employ these colours solely to attract the eyes
8 Francesco de Rossi, who assumed the name of his protectors, the Salviati,
was the condisciple of Vasari, under Andrea del Sarto and under Baccio Bandi-
nelli. He was an excellent sculptor, and a teacher of drawing to students in
painting, an art which he cultivated for his amusement. See Lanzi, Vol. I.
p. 167, 168. He was born in 1510. and died in 1563.
E
49
Salviati,a who are very celebrated for their works. The lights must
then be laid on, in the manner which we have already mentioned.
Now this mode of painting soon betrays the ignorance of those
who are but little accustomed to it, because, all that has been badly
done, either through timidity, or by the ground being badly covered,
or the work being badly finished, begins to shew itself the next day;
and it should be known, that when the wall and the picture are quite
dry, every little defect will clearly appear, and such will be all
retouchings, spots, and colours laid one over another, and badly
covered over, or badly united together; so that it is always wTell to
work cautiously, in order not to fall into these great faults. Then,
at the end of the day, when all the part that has been plastered is
finished, the remainder is cut off carefully, on account of the rough
edge, in order that, the next day, fresh intonaco may be joined on to
it, without shewing the least mark of the joining, as piece is joined
on to piece, while the work is going on. The boys will then take
care to wash the brushes with clean water, and to arrange their
points, and to repair them well : and they must do the same thing
with the mixed tints, and the other colours, by pouring water into
them all, and particularly into the white which has been purified, of
which, as being the principal colour among them, greater care must
be taken not to let it dry. Having thus put all the things into their
proper places, the wall must be wetted again in the evening, and
must be soaked several times against the next morning, particularly
when it is very hot weather, in order that the intonaco may be kept
well wetted during the time you are at work, until all that you wish
to paint upon it is finished.
This is the method which is to be observed concerning painting
in fresco, and which, together with the above advice, should be, so
to speak, the foundation of all the pictures you paint. And you may
leave to foolish painters those secrets of theirs, which no one envies
them, of using vermilions and fine lakes; because, although they
make grounds for them, with various kinds of white, it is, neverthe-
less, well known that, in the long run, their pictures become ugly
daubs, because they employ these colours solely to attract the eyes
8 Francesco de Rossi, who assumed the name of his protectors, the Salviati,
was the condisciple of Vasari, under Andrea del Sarto and under Baccio Bandi-
nelli. He was an excellent sculptor, and a teacher of drawing to students in
painting, an art which he cultivated for his amusement. See Lanzi, Vol. I.
p. 167, 168. He was born in 1510. and died in 1563.
E