DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0153
PALOMINO.
85
paintings are executed in compartments with their frames or mould-
ings either real or counterfeit, they may be conducted in the usual
manner. But if they are to be painted on concave surfaces, in ovals,
in which we will suppose the story or event is actually to be painted,
and not to be merely placed there after having been painted in
another place, it is necessary that the figures should be foreshortened,
as if they were seen from the feet upwards; although the point of
sight should be in the centre of the picture, that the foreshortening
may not appear too violent. For this purpose it is necessary to
imagine that the scenes represented m these pictures take place in
the air, and sometimes even on the clouds, for as we look at them
from below, if they were represented on a regular pavement, the
pavement would conceal them from our view, unless the figures were
placed on the very edge, as for instance on steps. In doing which,
it will be necessary particularly to attend to the perspective. We
may add, that the model or figure, to be copied, being put on the
table, the painter, standing either in the middle, or on one side of it,
or above or below, as required, should copy it exactly as it appears
to him : then, the drawing being raised in the air, above the eye,
it will appear as if the person who drew it had looked at it while raised
in the air. I should not omit to add that these paintings on vaults
or ceilings should be looked upon with some allowance, for the artist
cannot always produce the effect he wishes, on account of the great
labour and inconvenience with which they are executed; and some-
times they cannot be seen from a sufficient distance on account of the
smallness of the scaffold; and if any one asserts the contrary, it
must be because he has not found himself in this predicament; and
let the painter be very careful not to paint from the top towards the
bottom, that which is to be viewed from the bottom towards the top,
especially in concave places, or he will find himself deceived.
Of sketches for a cupola.—It is proper to mention another
thing, which perhaps those who are accustomed to these works
will deem important, which is, the mode of making the sketches for
a cupola, if they cannot be made on a concave surface, which they
should be when possible. It is as follows : considering the length
of the circumference as equal to three times the diameter and one
seventh part more, that is, that the proportion of the diameter to the
circumference is as seven to twenty-two. Having ascertained this,
we may draw this line on a piece of flat canvass, or paper, of sufii-
85
paintings are executed in compartments with their frames or mould-
ings either real or counterfeit, they may be conducted in the usual
manner. But if they are to be painted on concave surfaces, in ovals,
in which we will suppose the story or event is actually to be painted,
and not to be merely placed there after having been painted in
another place, it is necessary that the figures should be foreshortened,
as if they were seen from the feet upwards; although the point of
sight should be in the centre of the picture, that the foreshortening
may not appear too violent. For this purpose it is necessary to
imagine that the scenes represented m these pictures take place in
the air, and sometimes even on the clouds, for as we look at them
from below, if they were represented on a regular pavement, the
pavement would conceal them from our view, unless the figures were
placed on the very edge, as for instance on steps. In doing which,
it will be necessary particularly to attend to the perspective. We
may add, that the model or figure, to be copied, being put on the
table, the painter, standing either in the middle, or on one side of it,
or above or below, as required, should copy it exactly as it appears
to him : then, the drawing being raised in the air, above the eye,
it will appear as if the person who drew it had looked at it while raised
in the air. I should not omit to add that these paintings on vaults
or ceilings should be looked upon with some allowance, for the artist
cannot always produce the effect he wishes, on account of the great
labour and inconvenience with which they are executed; and some-
times they cannot be seen from a sufficient distance on account of the
smallness of the scaffold; and if any one asserts the contrary, it
must be because he has not found himself in this predicament; and
let the painter be very careful not to paint from the top towards the
bottom, that which is to be viewed from the bottom towards the top,
especially in concave places, or he will find himself deceived.
Of sketches for a cupola.—It is proper to mention another
thing, which perhaps those who are accustomed to these works
will deem important, which is, the mode of making the sketches for
a cupola, if they cannot be made on a concave surface, which they
should be when possible. It is as follows : considering the length
of the circumference as equal to three times the diameter and one
seventh part more, that is, that the proportion of the diameter to the
circumference is as seven to twenty-two. Having ascertained this,
we may draw this line on a piece of flat canvass, or paper, of sufii-