DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0172
104
FRESCO PAINTING.
as well as those of many learned men, and of men remarkable for
their dignities, such as, bishops, cardinals, and popes; among which
are portraits, from the life, in two circles in the roof, of the popes
Nicholas IV and Alexander V. Although Lorenzo gave all these
figures grey dresses, yet by the great skill he had acquired by his
long experience in painting, he so varied them, that they are all
different from each other. Some incline to red, others to blue ; some
are dark, and others are light, and, in short, they are all different
and deserving of approbation. Moreover, he is said to have executed
this work with so much quickness and facility, that once when he
was sent for by the frate guardiano of the convent (who used to
procure his dinner) just as he had laid on the intonaco for a figure,
and begun to paint, he said, ‘ Put on the saucepans, for I will just
finish this figure, and then I will come.’ So that it was said with
truth, that Lorenzo had greater quickness of hand, greater practice
in colours, and greater boldness, than any other person ever pos-
sessed.”—Vasari, Life of Lorenzo di Bicci.
“ Domenico Ghirlandaio understood well the method of painting
on walls, and worked on them with facility, although his style of
composition was somewhat affected. He repainted the Capella
Maggiore in Sta. Maria Novella which had been painted by Andrea
Orgagna, but which, owing to the bad state of the roof, had been
injured by the rain. This chapel was considered most beautiful, being
large, and pleasing for the vivacity of its colours, the skill and neat-
ness of the handling upon the wall, and the few retouchings in secco,
besides the composition and arrangement of the figures. And certain-
ly Domenico deserves great praise, on all accounts, and particularly
for the liveliness of the heads, which, being portraits from the life,
give excellent likenesses of many distinguished personages. He
painted also for Giovanni Tornabuoni, at his villa called Casa
Maccherelli, at a short distance from the city, and close to the
rivulet Terzolle, a chapel, now half ruined, on account of its being
situated so near the torrent. Although this chapel has been for
many years uncovered, and continually wetted by the rain, and
scorched by the sun, the painting has stood so well, that it would
seem to have been always under shelter, such is the durability of
fresco paintings, when judiciously painted, and not retouched in
secco.”—Vasari, Life of Domenico Ghirlandaio.
FRESCO PAINTING.
as well as those of many learned men, and of men remarkable for
their dignities, such as, bishops, cardinals, and popes; among which
are portraits, from the life, in two circles in the roof, of the popes
Nicholas IV and Alexander V. Although Lorenzo gave all these
figures grey dresses, yet by the great skill he had acquired by his
long experience in painting, he so varied them, that they are all
different from each other. Some incline to red, others to blue ; some
are dark, and others are light, and, in short, they are all different
and deserving of approbation. Moreover, he is said to have executed
this work with so much quickness and facility, that once when he
was sent for by the frate guardiano of the convent (who used to
procure his dinner) just as he had laid on the intonaco for a figure,
and begun to paint, he said, ‘ Put on the saucepans, for I will just
finish this figure, and then I will come.’ So that it was said with
truth, that Lorenzo had greater quickness of hand, greater practice
in colours, and greater boldness, than any other person ever pos-
sessed.”—Vasari, Life of Lorenzo di Bicci.
“ Domenico Ghirlandaio understood well the method of painting
on walls, and worked on them with facility, although his style of
composition was somewhat affected. He repainted the Capella
Maggiore in Sta. Maria Novella which had been painted by Andrea
Orgagna, but which, owing to the bad state of the roof, had been
injured by the rain. This chapel was considered most beautiful, being
large, and pleasing for the vivacity of its colours, the skill and neat-
ness of the handling upon the wall, and the few retouchings in secco,
besides the composition and arrangement of the figures. And certain-
ly Domenico deserves great praise, on all accounts, and particularly
for the liveliness of the heads, which, being portraits from the life,
give excellent likenesses of many distinguished personages. He
painted also for Giovanni Tornabuoni, at his villa called Casa
Maccherelli, at a short distance from the city, and close to the
rivulet Terzolle, a chapel, now half ruined, on account of its being
situated so near the torrent. Although this chapel has been for
many years uncovered, and continually wetted by the rain, and
scorched by the sun, the painting has stood so well, that it would
seem to have been always under shelter, such is the durability of
fresco paintings, when judiciously painted, and not retouched in
secco.”—Vasari, Life of Domenico Ghirlandaio.