DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0148
80
FRESCO PAINTING.
only with this difference, that the white, instead of being gypsurn,
should be of lime. For crimson, Albin or Pabonazo must be em-
ployed, and to use these tints properly, it is not necessary to take
them out with a spoon, but the colour in the vase should be pre-
viously stirred with a brush, and while it is thus liquid, it should be
put into the vase, which is to be held in the hands, for this kind of
painting is all done by means of water.
We have now to speak of the white paint for the palette, which
may be a portion of the same lime, if it be mild, straining it again
through a very close silk sieve, for which purpose it must be diluted
with much water, otherwise it will not pass through, and even then
it will be necessary to stir it with a brush, and then to remove the
refuse from the sieve from time to time. The lime being suffered to
settle, there will be found in the bottom of the jar a white coagulum,
which is to be used for the palette, taking it out with a spoon which
is to be kept for this purpose only.
But if the Blanco de cal (lime white) is of that kind which has
been kept in pellets, or dried in a jar, in the manner we have pre-
viously mentioned, it will be necessary to break it up, and to put
water to it, and after it is well moistened, to grind it again on the
stone with the muller.
And if the Blanco de cal cannot be prepared in this way, on
account of the length of time occupied in its preparation, it will be
necessary to procure some pieces of the purest white marble, and
break and grind them in an iron mortar. The powder is then to be
sifted ; and after this it should, if possible, be ground in a small mill,
which some, and myself among the number, keep for this purpose,
as well as for grinding other colours in large quantities for these
works, which is a very convenient practice. Some of this powder
should be mixed with the lime-white, (bianco de cal) in the propor-
tions of at least one part to three or four of the bianco de cal, and
this is very suitable for flesh colours, draperies, flowers, and the most
delicate things. And indeed, wherever this can be obtained it should
be used, as it is of great importance, even if the lime be purified,
although in this case, only one fourth, or even less, of the powdered
marble should be used.
Luca Giordano used this white pigment in whatever he painted,
and he assured me that it is employed in the same manner throughout
Italy. I must also inform you that, for want of marble, you may
use alabaster, which gives a great firmness to the white, because,
FRESCO PAINTING.
only with this difference, that the white, instead of being gypsurn,
should be of lime. For crimson, Albin or Pabonazo must be em-
ployed, and to use these tints properly, it is not necessary to take
them out with a spoon, but the colour in the vase should be pre-
viously stirred with a brush, and while it is thus liquid, it should be
put into the vase, which is to be held in the hands, for this kind of
painting is all done by means of water.
We have now to speak of the white paint for the palette, which
may be a portion of the same lime, if it be mild, straining it again
through a very close silk sieve, for which purpose it must be diluted
with much water, otherwise it will not pass through, and even then
it will be necessary to stir it with a brush, and then to remove the
refuse from the sieve from time to time. The lime being suffered to
settle, there will be found in the bottom of the jar a white coagulum,
which is to be used for the palette, taking it out with a spoon which
is to be kept for this purpose only.
But if the Blanco de cal (lime white) is of that kind which has
been kept in pellets, or dried in a jar, in the manner we have pre-
viously mentioned, it will be necessary to break it up, and to put
water to it, and after it is well moistened, to grind it again on the
stone with the muller.
And if the Blanco de cal cannot be prepared in this way, on
account of the length of time occupied in its preparation, it will be
necessary to procure some pieces of the purest white marble, and
break and grind them in an iron mortar. The powder is then to be
sifted ; and after this it should, if possible, be ground in a small mill,
which some, and myself among the number, keep for this purpose,
as well as for grinding other colours in large quantities for these
works, which is a very convenient practice. Some of this powder
should be mixed with the lime-white, (bianco de cal) in the propor-
tions of at least one part to three or four of the bianco de cal, and
this is very suitable for flesh colours, draperies, flowers, and the most
delicate things. And indeed, wherever this can be obtained it should
be used, as it is of great importance, even if the lime be purified,
although in this case, only one fourth, or even less, of the powdered
marble should be used.
Luca Giordano used this white pigment in whatever he painted,
and he assured me that it is employed in the same manner throughout
Italy. I must also inform you that, for want of marble, you may
use alabaster, which gives a great firmness to the white, because,