DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62783#0150
82
FRESCO PAINTING.
observe all the outlines, nor would the aerial perspective be well kept,
nor the outlines properly preserved.
I should also inform the fresco painter, that he should not paint
all the tarea at once, but only what he can complete at one sitting
quickly, for having once began to paint any part it must not be left
until it is quite finished, because, if it dries, the subsequent
paintings will not unite well with, or match the first, except a few
fine dark touches (or hatchings), in some parts. But if the work is
commenced late in the day, and the weather is dry, it should
be sprinkled from time to time with a brush dipped in clean
water, and the surface of the stucco should be moistened by
rubbing with the other brush; and indeed in dry and hot weather, it
will be well for the painter, who begins his work late, before he
commences, to wash it with the before mentioned handful of flax,
tied up in a linen cloth, (which should be well moistened) and with
some of the same stucco, by which means the sand is disturbed, and
the pores of that which is already spread are opened. If, in doing
this, the outlines of the drawing are very much disturbed, they
must be marked over again ; and the same may be done in winter,
especially if the weather be damp, in order to finish it the next day, if
anything remains to be done.
Of laying on the flesh colour.—As to the flesh, after it is
outlined with Tierra Roxa or Pabonazo and ochre, the painter should
put over it a general middle tint of flesh colour, which must be after-
wards lowered in the shadowed parts, using for this purpose a tint
made of Esmalte and Tierra Verde, adding ochre and white and red,
according to the colour required. Very good tints for the shadows
can be made also with Tierra Roxa and green, finishing them with
Sombra and Albin, and if the shadows require greater depth with
Tierra Negra and Pabonazo. And I must inform you that if the
painting is not left to repose, the tints may be united as in oil paint-
ing, when the colour is discharged from the brush or pencil. And
even without washing the brush, it may be moistened with water and
shaken, and the tints may be united and softened very well with it.
It will be better to do this with a small and very soft brush. But
the painter will adapt the size of the brushes to the proportions
of the pictures and the size of the figures, and in this manner will
be formed a perfect style with an impasto equal to that in oil paint-
ing, without that excessive labour which prevailed in the ancient
manner, where every part was hatched like a miniature.
FRESCO PAINTING.
observe all the outlines, nor would the aerial perspective be well kept,
nor the outlines properly preserved.
I should also inform the fresco painter, that he should not paint
all the tarea at once, but only what he can complete at one sitting
quickly, for having once began to paint any part it must not be left
until it is quite finished, because, if it dries, the subsequent
paintings will not unite well with, or match the first, except a few
fine dark touches (or hatchings), in some parts. But if the work is
commenced late in the day, and the weather is dry, it should
be sprinkled from time to time with a brush dipped in clean
water, and the surface of the stucco should be moistened by
rubbing with the other brush; and indeed in dry and hot weather, it
will be well for the painter, who begins his work late, before he
commences, to wash it with the before mentioned handful of flax,
tied up in a linen cloth, (which should be well moistened) and with
some of the same stucco, by which means the sand is disturbed, and
the pores of that which is already spread are opened. If, in doing
this, the outlines of the drawing are very much disturbed, they
must be marked over again ; and the same may be done in winter,
especially if the weather be damp, in order to finish it the next day, if
anything remains to be done.
Of laying on the flesh colour.—As to the flesh, after it is
outlined with Tierra Roxa or Pabonazo and ochre, the painter should
put over it a general middle tint of flesh colour, which must be after-
wards lowered in the shadowed parts, using for this purpose a tint
made of Esmalte and Tierra Verde, adding ochre and white and red,
according to the colour required. Very good tints for the shadows
can be made also with Tierra Roxa and green, finishing them with
Sombra and Albin, and if the shadows require greater depth with
Tierra Negra and Pabonazo. And I must inform you that if the
painting is not left to repose, the tints may be united as in oil paint-
ing, when the colour is discharged from the brush or pencil. And
even without washing the brush, it may be moistened with water and
shaken, and the tints may be united and softened very well with it.
It will be better to do this with a small and very soft brush. But
the painter will adapt the size of the brushes to the proportions
of the pictures and the size of the figures, and in this manner will
be formed a perfect style with an impasto equal to that in oil paint-
ing, without that excessive labour which prevailed in the ancient
manner, where every part was hatched like a miniature.