DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0123
ANDREA POZZO.
having finished painting for that day, any part of the intonaco should
be still unpainted, which w’ould dry before the next day, it must be
cut away,a taking care not to make the cuttings in the middle of the
carnations, but only in their outlines, or in the draperies. The into-
naco must thus be put on piece by piece; and the mason must take
care to do this well, so as not to daub the outlines of the picture,
nor to splash it, and therefore, in order to obviate all dangers of this
kind, it will be better to begin painting at the top of the picture.
Of tracing.—When the outlines of the design have been drawn
on large paper, as is mentioned before, the cartoon must be laid upon
the intonaco, the wetness of which will allow it to receive any im-
pression, and then the outlines must be traced over lightly with an
iron stile. For small pictures, it will be sufficient to pounce the
outlines.
On the preparation of the colours.—Before begining to
paint, it is necessary to prepare the colours, and the various tints,
such, at least, as will be required for one figure; indeed, if a mass of
architecture is to be painted, it will be necessary to prepare a general
tint for the whole work ; otherwise, it would be difficult, if obliged
to mix additional quantities, to match the colours. It is not necessary
to speak of the other usual preparations, as thay are common to oil
painting.
The manner of painting.—Painting in fresco is not different
from oil painting, except that it requires greater quickness and cele-
rity, from the difficulty caused by the necessity of the artist
accomodating himself to the situation in which the picture is to be
painted. Therefore, besides arranging the colours in order, in
separate gallipots, it is also proper to be provided with a palette of
copper, tin, or wood,b with a raised edge all round, in order that the
more liquid colours may not be spilled, with a small jar in the middle
for holding pure water, that there may be some near at hand with
which to wet the colours. A sponge soaked in water will do as well.
Care must also be taken not to begin the painting, until the lime
a As to cuttings and joinings see II. Rep. page 23.
b Palomino recommends a palette of canvass.
having finished painting for that day, any part of the intonaco should
be still unpainted, which w’ould dry before the next day, it must be
cut away,a taking care not to make the cuttings in the middle of the
carnations, but only in their outlines, or in the draperies. The into-
naco must thus be put on piece by piece; and the mason must take
care to do this well, so as not to daub the outlines of the picture,
nor to splash it, and therefore, in order to obviate all dangers of this
kind, it will be better to begin painting at the top of the picture.
Of tracing.—When the outlines of the design have been drawn
on large paper, as is mentioned before, the cartoon must be laid upon
the intonaco, the wetness of which will allow it to receive any im-
pression, and then the outlines must be traced over lightly with an
iron stile. For small pictures, it will be sufficient to pounce the
outlines.
On the preparation of the colours.—Before begining to
paint, it is necessary to prepare the colours, and the various tints,
such, at least, as will be required for one figure; indeed, if a mass of
architecture is to be painted, it will be necessary to prepare a general
tint for the whole work ; otherwise, it would be difficult, if obliged
to mix additional quantities, to match the colours. It is not necessary
to speak of the other usual preparations, as thay are common to oil
painting.
The manner of painting.—Painting in fresco is not different
from oil painting, except that it requires greater quickness and cele-
rity, from the difficulty caused by the necessity of the artist
accomodating himself to the situation in which the picture is to be
painted. Therefore, besides arranging the colours in order, in
separate gallipots, it is also proper to be provided with a palette of
copper, tin, or wood,b with a raised edge all round, in order that the
more liquid colours may not be spilled, with a small jar in the middle
for holding pure water, that there may be some near at hand with
which to wet the colours. A sponge soaked in water will do as well.
Care must also be taken not to begin the painting, until the lime
a As to cuttings and joinings see II. Rep. page 23.
b Palomino recommends a palette of canvass.