DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62783#0118
50
FRESCO PAINTING.
of the vulgar, at first sight, and we cannot consider those persons
who have thus employed them, altogether blameless.
To make pictures in Chiaro-scuro, the same means are used, as
have been just mentioned; for, having pounded the charcoal, and
washed the white, of these two extremes, at least, three tints must
be made, one lighter than the other; and then, in order to judge of
their effect, while they are being mixed, they must be tried on a
brick which has been baked, but not wetted. Some persons mix
potter’s clay with them; and there are others, who lay a coat of it
underneath, for a ground, which answers the same purpose.
A similar method is used for painting pictures to imitate bronze,
using mixtures of these colours, namely, yellow earth ('terra gialla),
and occheja3' for the shadows, for which others mix umber (terra
d’ombra) with it, and some add paonazzo, and others black. In
short, any kind of picture can be painted well in this way. But we
have said enough on this subject.
Of retouching fresco paintings in secco.—But, to follow
out our subject, as regards the manner of painting, this last
harmonizing is considered to be, and really is, very difficult in fresco
paintings, particularly in those which are not under cover. This
arises from the effect of the lime on the colours, for as the lime dries
very quickly, nothing can be done after the first day on which you
paint upon it. For this reason, I approve of those painters who
provide for this, by means of cartoons, which are well finished by
their own hands, because, when the tints and the shades have been
put in their proper places at first, the finishing touches are then
given with the delicate and liquid shades.
But as for those which are in covered places, they can be perfectly
harmonized by retouching them in secco, because, when the first
colours have been painted in solidly, while the lime is very wet,
afterwards, when it is dry, it can be brought to whatever degree of
perfection is thought proper, with the finest colours, it being allow-
able to do so, without any injury to the colours, which, however,
have been seen to fail after a length of time. In retouching the
dark parts in this manner, there are some painters, who make a
water-colour tint of black and fine lake, mixed together, with which
a Occheja. The name and nature of this pigment is quite unknown, unless it
be a typical error for ocrea arsa, burnt ochre. See Lomazzo, Trattato. p. 196.
FRESCO PAINTING.
of the vulgar, at first sight, and we cannot consider those persons
who have thus employed them, altogether blameless.
To make pictures in Chiaro-scuro, the same means are used, as
have been just mentioned; for, having pounded the charcoal, and
washed the white, of these two extremes, at least, three tints must
be made, one lighter than the other; and then, in order to judge of
their effect, while they are being mixed, they must be tried on a
brick which has been baked, but not wetted. Some persons mix
potter’s clay with them; and there are others, who lay a coat of it
underneath, for a ground, which answers the same purpose.
A similar method is used for painting pictures to imitate bronze,
using mixtures of these colours, namely, yellow earth ('terra gialla),
and occheja3' for the shadows, for which others mix umber (terra
d’ombra) with it, and some add paonazzo, and others black. In
short, any kind of picture can be painted well in this way. But we
have said enough on this subject.
Of retouching fresco paintings in secco.—But, to follow
out our subject, as regards the manner of painting, this last
harmonizing is considered to be, and really is, very difficult in fresco
paintings, particularly in those which are not under cover. This
arises from the effect of the lime on the colours, for as the lime dries
very quickly, nothing can be done after the first day on which you
paint upon it. For this reason, I approve of those painters who
provide for this, by means of cartoons, which are well finished by
their own hands, because, when the tints and the shades have been
put in their proper places at first, the finishing touches are then
given with the delicate and liquid shades.
But as for those which are in covered places, they can be perfectly
harmonized by retouching them in secco, because, when the first
colours have been painted in solidly, while the lime is very wet,
afterwards, when it is dry, it can be brought to whatever degree of
perfection is thought proper, with the finest colours, it being allow-
able to do so, without any injury to the colours, which, however,
have been seen to fail after a length of time. In retouching the
dark parts in this manner, there are some painters, who make a
water-colour tint of black and fine lake, mixed together, with which
a Occheja. The name and nature of this pigment is quite unknown, unless it
be a typical error for ocrea arsa, burnt ochre. See Lomazzo, Trattato. p. 196.