DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0160
92
FRESCO PAINTING.
have sketched the the subject with a pencil dipped in red, on the wall
covered with the arricciato, and that they should afterwards have
covered their work over with the intonaco. The reason given for
this by Vasari is not satisfactory ; he says, that this method was the
cartoon used by the old masters for painting in fresco with greater
expedition, &c. We shall see now whether I can more nearly assign
the true cause of this proceeding.—
“ I observe in the first place, that they drew the subject on a large
scale on the wall, enlarging from the small design on which they had
embodied their ideas, and that they sketched in this manner the
whole composition of the picture, in order to see the effect of the
proportions when enlarged, and to correct the errors. , Then it is
probable that they traced the outlines, drawn with red, on to paper,
which formed the cartoon mentioned by Vasari. This then being
applied upon the intonaco composed of lime and fine sand, and on
the levigated and smooth surface, corresponds with the drawing
beneath ; and if this be not the case in every part, it probably arose
from some variation made by the painters, on the cartoons, or on the
wall itself.”—II. Pisa, Illust. 224, Cennino c. 67, and see II. Rep.
24, 25.
“ Simon Memmi had also begun in the middle of the facade of
the great refectory of the convent, many small historical pictures,
and also a crucifixion in the form of a cross, which remained imper-
fect, being merely drawn as may be seen even now, with pencil
dipped in rosaccio upon the arricciato; this mode of painting served
instead of a cartoon to some of our old masteis, in order to enable
them to paint with more expedition, because, having marked out all
their work upon the arricciato, they drew it with a pencil, copying
from a small design all that they intended to paint, and enlarging it
in the proportion required for the picture. There are also many
pictures in other places drawn in the same manner as this picture,
and many others that have been painted, from which the painting has
scaled off, leaving the design in rosaccio still visible.”—Vasari, Vol.
II. p. 177, and see Lanzi, Vol. I. p. 31.
The following extract shews a curious contrivance for preserving
painted ceilings from being injured by damp : “ Earthen vases are
placed under the roofs of the churches of S. Erculino and S. Martino,
in Milan, in order to preserve the ceiling from being injured by
damp.” Morelli, Notizie d’opere di disegno, p. 41. “In the
FRESCO PAINTING.
have sketched the the subject with a pencil dipped in red, on the wall
covered with the arricciato, and that they should afterwards have
covered their work over with the intonaco. The reason given for
this by Vasari is not satisfactory ; he says, that this method was the
cartoon used by the old masters for painting in fresco with greater
expedition, &c. We shall see now whether I can more nearly assign
the true cause of this proceeding.—
“ I observe in the first place, that they drew the subject on a large
scale on the wall, enlarging from the small design on which they had
embodied their ideas, and that they sketched in this manner the
whole composition of the picture, in order to see the effect of the
proportions when enlarged, and to correct the errors. , Then it is
probable that they traced the outlines, drawn with red, on to paper,
which formed the cartoon mentioned by Vasari. This then being
applied upon the intonaco composed of lime and fine sand, and on
the levigated and smooth surface, corresponds with the drawing
beneath ; and if this be not the case in every part, it probably arose
from some variation made by the painters, on the cartoons, or on the
wall itself.”—II. Pisa, Illust. 224, Cennino c. 67, and see II. Rep.
24, 25.
“ Simon Memmi had also begun in the middle of the facade of
the great refectory of the convent, many small historical pictures,
and also a crucifixion in the form of a cross, which remained imper-
fect, being merely drawn as may be seen even now, with pencil
dipped in rosaccio upon the arricciato; this mode of painting served
instead of a cartoon to some of our old masteis, in order to enable
them to paint with more expedition, because, having marked out all
their work upon the arricciato, they drew it with a pencil, copying
from a small design all that they intended to paint, and enlarging it
in the proportion required for the picture. There are also many
pictures in other places drawn in the same manner as this picture,
and many others that have been painted, from which the painting has
scaled off, leaving the design in rosaccio still visible.”—Vasari, Vol.
II. p. 177, and see Lanzi, Vol. I. p. 31.
The following extract shews a curious contrivance for preserving
painted ceilings from being injured by damp : “ Earthen vases are
placed under the roofs of the churches of S. Erculino and S. Martino,
in Milan, in order to preserve the ceiling from being injured by
damp.” Morelli, Notizie d’opere di disegno, p. 41. “In the