DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62783#0188
1-20
FRESCO PAINTING.
“All those paintings which Antonio Veneziano executed in the
Campo Santo, at Pisa, are universally, and with great reason, con-
sidered the best of all those which have been painted by many
excellent masters, at various times, in that place; because he always
painted everything in fresco, never retouching anything in secco;
and this caused his colours to remain brilliant even to this day. This
should be a lesson to artists, to shew them how much the retouching
of fresco paintings with other colours, after they are dry, injures the
pictures ; it being an ascertained fact, that they appear old, and are
prevented from being cleaned by the weather, when they are covered
over with gum, gum-tragacanth, egg, size, or any similar thing which
varnishes (appanna) the pictures underneath it, and does not allow
time and air, to clean that which is really painted in fresco beneath,
upon the wet lime, as would be the case, if other colours, in secco,
were not put over them.”—Vasari, Life of Antonio Veneziano. See
I. Lanzi, p. 42.
“Luca Signorelli painted in fresco, at Volterra, in the church of
San Francesco, over the altar of a fraternity, the circumcision of our
Lord, which is considered wonderful; although the infant, having
suffered from the damp, was repainted by II Sodoma, not nearly so
well as it was before ; indeed, it would be sometimes better, to
suffer the pictures, painted by good artists, to remain half spoiled,
rather than to have them retouched by inferior painters.”—Kasari,
Life of Luca Signorelli.
“The Madonna in the Campo Santo, said by Vasari and Baldi -
nucci to have been painted by Benozzo Gozzoli, is thought to have
been in fact painted by Stefano, and, being damaged, to have been
afterwards repainted by Benozzo, as his pictures were by another
hand?”—Pisa, Illust. II, 214.
The following account of the alteration of a picture in fresco, by
painting over part of it in distemper, a proceeding which had escaped
the detection of Vasari, will be read with interest.
Fra. Angelico da Fiesole painted under his great work (the
crucifixion), in the convent of San Marco, seventeen heads and
busts, representing various saints ; among which is seen the portrait
a These retouchings prove that the pictures soon decayed.
FRESCO PAINTING.
“All those paintings which Antonio Veneziano executed in the
Campo Santo, at Pisa, are universally, and with great reason, con-
sidered the best of all those which have been painted by many
excellent masters, at various times, in that place; because he always
painted everything in fresco, never retouching anything in secco;
and this caused his colours to remain brilliant even to this day. This
should be a lesson to artists, to shew them how much the retouching
of fresco paintings with other colours, after they are dry, injures the
pictures ; it being an ascertained fact, that they appear old, and are
prevented from being cleaned by the weather, when they are covered
over with gum, gum-tragacanth, egg, size, or any similar thing which
varnishes (appanna) the pictures underneath it, and does not allow
time and air, to clean that which is really painted in fresco beneath,
upon the wet lime, as would be the case, if other colours, in secco,
were not put over them.”—Vasari, Life of Antonio Veneziano. See
I. Lanzi, p. 42.
“Luca Signorelli painted in fresco, at Volterra, in the church of
San Francesco, over the altar of a fraternity, the circumcision of our
Lord, which is considered wonderful; although the infant, having
suffered from the damp, was repainted by II Sodoma, not nearly so
well as it was before ; indeed, it would be sometimes better, to
suffer the pictures, painted by good artists, to remain half spoiled,
rather than to have them retouched by inferior painters.”—Kasari,
Life of Luca Signorelli.
“The Madonna in the Campo Santo, said by Vasari and Baldi -
nucci to have been painted by Benozzo Gozzoli, is thought to have
been in fact painted by Stefano, and, being damaged, to have been
afterwards repainted by Benozzo, as his pictures were by another
hand?”—Pisa, Illust. II, 214.
The following account of the alteration of a picture in fresco, by
painting over part of it in distemper, a proceeding which had escaped
the detection of Vasari, will be read with interest.
Fra. Angelico da Fiesole painted under his great work (the
crucifixion), in the convent of San Marco, seventeen heads and
busts, representing various saints ; among which is seen the portrait
a These retouchings prove that the pictures soon decayed.