DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.26439#0031
9
FRESCO ORNAMENT.
Between the Byzantine epoch, when mural decoration could boast of the rich and solemn effect produced
by the use of mosaic inlay, and the revival of the art of painting in the fifteenth century, extends a long
period, embracing the works of the Romanesque and Gothic styles, neither of which has been illustrated in the
manner it deserves, arising chiefly from the few remains which exist at this day in a perfect state, at least
in the Cisalpine countries. As regards the first-named style, we have frequent records that painting was
extensively applied as an internal decoration, where mosaic-work could not be obtained; and we constantly
find notices, during the eleventh and twelfth centuries, of the walls of churches being covered with painted
subjects, illustrating the Sacred Writings or the lives of particular Saints.
Amongst the names which preceded Cimabue in this art, that of Giunta da Pisa stands foremost; and we
have chosen the church of San Piero, in Grado, as one of the best-preserved and most complete examples of
his epoch, if not of his own style, which is now in existence. Cimabue (1240—1300) formed a style transitional
in its character, which still retained most of the conventional dispositions of mural decoration and figure-drawing,
on which is grafted however a return to natural models; but to Giotto (1276—1336) is due the complete
formation of a new school, in which the study of Nature, and a certain development of the antique Roman
style, preponderate over the conventionalities of the Byzantine school. Prom this period may be dated the true
revival of the art of painting (principally in fresco) in Italy; in the advancement of which stand prominently
forward the names of his contemporaries, pupils, and followers, such as Simone Memmi of Siena (1276—1344),
Taddeo Gaddi of Florence (1300—1352), Spinello Aretino of Arezzo (1308—1400), whose works in mural
decoration are in a measure illustrated in this book.
The general characteristics of this Italian Gothic, or Giottesque style of mural decoration are,—a dado, or
base, pannelled with imitations of various marbles, contained within borders painted in imitation of the glass
mosaic-work usually known as Opus Grecanicum, having at times central designs of intricate geometrical and
leaf ornament. About six feet from the floor is a cornice with small brackets or consoles, all radiating in
perspective to a central point of sight: above this the wall is divided into large compartments, containing
historical or religious figure subjects, the figures being strongly outlined, and the colours flat and distinct, with
but a slight use of chiaro-oscuro; these compartments are also enclosed in painted mosaic borders, and beneath
each is a description of the subject illustrated, written in peculiar Gothic letters of a very good style. The
vaulting of the roof springs immediately from above these pictures, the only actual projection being one large
central rib, ornamented with winding foliage and mosaic borders, and painted mouldings to carry it off more
agreeably on to the flat surface of the vaulted compartments, which are almost always painted of a deep blue,
studded with gold stars, and in the centre of each of which are painted figures, usually holding written scrolls
descriptive of their meaning. Sometimes the names are written on the clouds beneath, from which they
frequently appear to rise. The intersection of the rib is marked by a gold boss, carved and gilt, but not of
FRESCO ORNAMENT.
Between the Byzantine epoch, when mural decoration could boast of the rich and solemn effect produced
by the use of mosaic inlay, and the revival of the art of painting in the fifteenth century, extends a long
period, embracing the works of the Romanesque and Gothic styles, neither of which has been illustrated in the
manner it deserves, arising chiefly from the few remains which exist at this day in a perfect state, at least
in the Cisalpine countries. As regards the first-named style, we have frequent records that painting was
extensively applied as an internal decoration, where mosaic-work could not be obtained; and we constantly
find notices, during the eleventh and twelfth centuries, of the walls of churches being covered with painted
subjects, illustrating the Sacred Writings or the lives of particular Saints.
Amongst the names which preceded Cimabue in this art, that of Giunta da Pisa stands foremost; and we
have chosen the church of San Piero, in Grado, as one of the best-preserved and most complete examples of
his epoch, if not of his own style, which is now in existence. Cimabue (1240—1300) formed a style transitional
in its character, which still retained most of the conventional dispositions of mural decoration and figure-drawing,
on which is grafted however a return to natural models; but to Giotto (1276—1336) is due the complete
formation of a new school, in which the study of Nature, and a certain development of the antique Roman
style, preponderate over the conventionalities of the Byzantine school. Prom this period may be dated the true
revival of the art of painting (principally in fresco) in Italy; in the advancement of which stand prominently
forward the names of his contemporaries, pupils, and followers, such as Simone Memmi of Siena (1276—1344),
Taddeo Gaddi of Florence (1300—1352), Spinello Aretino of Arezzo (1308—1400), whose works in mural
decoration are in a measure illustrated in this book.
The general characteristics of this Italian Gothic, or Giottesque style of mural decoration are,—a dado, or
base, pannelled with imitations of various marbles, contained within borders painted in imitation of the glass
mosaic-work usually known as Opus Grecanicum, having at times central designs of intricate geometrical and
leaf ornament. About six feet from the floor is a cornice with small brackets or consoles, all radiating in
perspective to a central point of sight: above this the wall is divided into large compartments, containing
historical or religious figure subjects, the figures being strongly outlined, and the colours flat and distinct, with
but a slight use of chiaro-oscuro; these compartments are also enclosed in painted mosaic borders, and beneath
each is a description of the subject illustrated, written in peculiar Gothic letters of a very good style. The
vaulting of the roof springs immediately from above these pictures, the only actual projection being one large
central rib, ornamented with winding foliage and mosaic borders, and painted mouldings to carry it off more
agreeably on to the flat surface of the vaulted compartments, which are almost always painted of a deep blue,
studded with gold stars, and in the centre of each of which are painted figures, usually holding written scrolls
descriptive of their meaning. Sometimes the names are written on the clouds beneath, from which they
frequently appear to rise. The intersection of the rib is marked by a gold boss, carved and gilt, but not of