Merrifield, Mary P.: The art of fresco painting, as practised by the old Italian and Spanish masters, with a preliminary inquiry into the nature of the colours used in fresco painting: with observations and notes (London: Charles Gilpin, 1846)

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FRESCO PAINTING.

drapery, mixed with Verde Montana and a very little ochre, because,
as the latter darkens and the former becomes lighter coloured in
drying, it will be exactly the same colour as before, when dry. The
Verde Montana cannot be used by itself in fresco, therefore I have
not placed it among the colours used in fresco-painting, because,
either it does not adhere to the lime, or if it does adhere it burns ;a
however, the first defect may be remedied by using it with milk; but
when mixed with Tierra Verde, it keeps its colour well, and is very
beautiful, especially if it is of that kind which is brought from Venice
in pastilles, when it is called by some Verde Granilla, which is much
better than what is sold here in powder. Hornaza mixed with white
may also be used for the lights in the green. And for the shadows
in covered places, the Tierra Verde may be darkened with indigo and
a little ochre or Sombra del Viejo. And if the situation be exposed
to the air, it should be darkened with Negro de Carbon, or Sombra
del Viejo, or Tierra Negra, which last is a most beautiful colour in
every respect, especially if it be that which comes from Venice, and
which we get in pellets.
The blue is the Scylla of this kind of painting; but fortune has
not given us our choice in this matter, obliging us to use Esmalte,
which is in substance ground glass. This pigment may either be
used by itself, or mixed with white, and if applied on the wet stucco,
it adheres very well when used with lime-water. But if the painting
is to be in an uncovered place, I do not think this a secure method
of applying the colour, therefore it should be used with goat’s milk;
and for the dark parts, for which the Esmalte alone would not be suf-
ficient, Negro de Carbon may be used, and it may be finished with
Tierra Negra. In covered situations, indigo may be used for the
dark parts, but this colour should never be applied on the lime itself,
as it perishes ; and this is the reason why I have not classed it among
the colours used in fresco painting, because it is an intruder. I
know by experience, that either pure Esmalte, or Esmalte mixed with
indigo, with a little Tierra Verde, or of a blue stone which is called
Ignoto,b adheres wonderfully well without milk. And in this man-
ner may be made purple colours, mixing with the Esmalte instead of
carmine, Albin and Pavonazo in proper proportions; milk should be
a “ Or destroys the expression is used to denote the effect of the sun or frost
on flowers.
b This word means unknown. See Treatise on Colours—Blue pigments.