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PRESCO PAINTING

FRFSCO PAINTING
>

REFERENCE TO THE BUONO

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FRESCO METHODS

<

FRESCO PAINTING
ART AND TECHNIQUE

ITS

WITH SPECIAL REFERENCE TO THE BUONO

AND SPIRIT FRESCO METHODS

BY

JAMES WARD
'

AUTHOR OF
ORNAMENT," " COLOUR HARt.I0N7 AND CONTRAST,
HISTORIC ORNAMENT," "PROGRESSIVE DESIGN," ETC.

PRINCIPLES or
<<

With Four

Plates in Colour

of Italian

and

and Thirty-one Half-tone

Illustrations

other Fresco Paintings

LONDON
CHAPMAN AND HALL,
1909

Ltd.

Richard Clay & Sons, Limited,

bread street hill, e.c., and
bungay, suffolk.

dc

PREFACE
HAVE endeavoured in this treatise to place
before students some practical hints in the methods
I

and processes of fresco painting, which are the out-

come

of

my

experience in the practice of the " buon-

and the

fresco,"

"spirit-fresco"

As

decoration.
" water-glass,"

and

later variety, the

its

cess of fresco painting,

Keims

do not pretend

German

to

pro-

have a

knowledge, having no practical experience

definite

in painting in

condition of

to

these

some

been executed
trust

systems of wall

the stereochrome, or

to

the

methods, but, on seeing the

stereochromy,

in

buon-fresco

mediums when

England which have

frescos in

is

it

or

to

should prefer to
the

spirit-fresco

a question of the permanency

of wall paintings.
It is

common enough

to-day to hear and to read

and
to
seem
of whom

by

of the condemnation of fresco painting

even by some eminent

echo each other

artists, all

critics,

in pointing out the failures in the

examples executed on the walls of the Houses of

Parliament and other places

and

all

agree, because

of these failures, that fresco painting

in

this

country,

owing

to

the

is

impossible

dampness of the

,>^f

PREFACE

vi

climate.
to

answer

Our damp
for,

but

climate seems to have a deal

it is

hardly

fair to

blame

it

for the

ignorance of some of our mid-Victorian artists as to

the nature and behaviour of the materials used in
fresco painting,

and

for their possibly limited

know-

ledge of the chemistry of colours and the after action

of caustic lime on the colours they used.
I

trust that the technical notes

on some of the

and of some

Italian frescos

and observations

may be

of interest

value to students of decorative

J.

art.

Ward.

CONTENTS
CHAPTER

PAGE

THE RELATIONSHIP OF MURAL PAINTING TO ARCHITECTURE

CHAPTER
MURAL DECORATION

SYSTEMS

FRESCO-BUONO PROCESS

METHOD

WALL

OF

...

III

COLOURS PREPARATION

OF THE

OF EXECUTION

CHAPTER
PAINTING

II

AND METHODS

CHAPTER

FLESH

12

IV

AND DRAPERIES

PERMANENCE

OF

BUON-FRESCO

25

CHAPTER V
SPIRIT FRESCO PAINTING

CHAPTER
TECHNICAL

NOTES

VI

ON THE COMPOSITION, COLOUR, AND

PRESENT STATE OF SOME ITALIAN FRESCOS

CHAPTER

-39

VII

FRESCO PAINTINGS BY GOZZOLI AND PERUGINO

vii

'51

CONTENTS

viii

CHAPTER

VIII
PAGE

THE WORK OF PINTURICCHIO AND GHIRLANDAJO

CHAPTER
FRESCOS

BY

ANDREA

56

IX

DEL SARTO,

RAFFAELLE AND MICHAEL ANGELO

INDEX

LUINI,
.

G.
.

FERRARI,
.

.63
71

LIST OF ILLUSTRATIONS
To fact fagt

rLATE
1.

The Arts of Peace

Lord Leighton

(colour).

Frontispiece
2.
3.

4.
5.

6.

Fragment of Ancient Fresco from Tiryns

Portion of Fresco Border (colour).
After
E. J. Poynter, P.R.A
Trial Piece of Buon Fresco.
TRrAL Piece of Buon Fresco.

Group of Three Figures

R.A

(colour).

Detail from the Arts of War.

9.

Detail from the Arts of War.

13.
14.

15.

17.
18.

19.

20.

Watts,

Virgin.
Francis.

Lord Leighton
Lord Leighton

Giotto

Giotto

32

34

37

.39
.40
.42

.........

The Deposition

the Sepulchre. Fra Angelico

Detail of the Crucifixion. Fra Angelico
The Tribute Money (colour). Masaccio
Angels, from the Paradise. P. Gozzoli
Angels, from the Paradise. B. Gozzoli
in

Benedict.

22. St.

John.

Detail

Perugino

44
46

47

.49
.51
.53

Perugino

from the

Perugino

43

......
.

30

King of France. Giotto

The Meeting of SS. Joachim and Anna. Giotto
Fra
Christ appearing to Mary Magdalene.
St. Louis,

21. St,

23.

G. F.

Sir E. J. Poynter, P.R.A.

Lord Leighton

Detail from the Arts of Peace.

The Birth of the

The Death of St.

Angelico
16.

23
25

27

8.

12.

20

R.A

G. F. Watts, R.A.

7.

1.

Sir

Stephen before his Accusers, and the Stoning

OF St. Stephen.

G. F. Watts,

St.

10.

.10

54
55

Charge to Peter.

Christ's
.

-56

LIST OF ILLUSTRATIONS

To face page

PLATE
24.

St,

Catherine

Pinturicchio

disputing
.

before
.

Maximianus.

25.

Detail of the St, Catherine Fresco,

26.

The

27.

Florentine Lady,

28.

The Death

29.

Nativity, Spello Cathedral.

Ghirlandajo

of St, Francis.

Pinturicchio
.

Ghirlandajo

30.

Florentine Lady, Ghirlandajo

Detail from the Birth of the Virgin. Ghirlandajo

31.

Fresco of an Infant Angel,

32.

The Virgin and

Child.

B. Luini

B. Luini

Lucy sentenced to Death, Jacopo d'Avanzo

The Fire in the Borgo, Raffaelle
Figure of Adam, Sistine Chapel. Michael Angelo

33. St.
34.
35.

57

Pinturicchio

58
,

59

.60
,61
.62
63

.64
'65
,

66

.68
.

69

FRESCO PAINTING
CHAPTER

THE RELATIONSHIP OF MURAL PAINTING TO

ARCHITECTURE

When

considering the subject of mural painting,

and indeed the progress and development of

so-called

"fine arts,"

or of the

minister to

the uses

and wants

generally, of the

that

lesser arts

of everyday

we cannot regard them as isolated

human activity apart from their

life,

of

creations

and principles

legitimate connection with the laws

of good

art

architecture.

culmination,

and

The

progress, development,

decadence

chronize with the

similar

of architecture

syn-

stages of painting and

sculpture.

In a noble building the special functions of the

three sister arts are clearly defined
its

own

each supplies

distinct qualities of expression to

the general artistic unity.

The

make up

severe lines and

proportional rhythm of the architecture are enriched

by

sculpture,

which

in its

turn

is

chastened and

modified by the contiguous severity of the former,

FRESCO PAINTING

while painting adds the necessary colour finish to

the bare spaces that are enclosed by the mouldings

and constructional
ing at

adds to

else that

nobility

Thus, while the three

own

and whatever

and monumental

association

close

its

its

borrow-

dignity, restfulness

its

simplicity of composition,

of form,

from

lines of the architecture,

the same time much of

fitness,

with the architecture.

arts are each limited to their

same time, would

from each other what is lack-

special functions, they, at the

appear to assimilate

ing in themselves, and so contribute to the complete

artistic

harmony.

most ornate of the three, owing

power of expression and beauty

Painting, as the
to

its

greater

of colour, must nevertheless be employed to decorate,

in the true

sense of the word, the plain spaces in a

and

building,

in

the largest and simplest manner,

without any definite attempts to represent the true

facts of nature, or at least

it

should be suggestive of

such facts rather than descriptive of them.

The

arrangement

and

composition

restfulness of the masses of form,

balance and purity of colour are

essentials

of mural

painting,

of

line,

and the harmonic

among

and

all

the primary

these indis-

pensable requisites of this form of art are due to

its

contact with architecture.

mind,
special

we must

While bearing

this in

not forget that painting has

its

functions apart from those of architecture,

which include a controlling power over form and

colour,

and the

faculty of illustrating ideas,

by means

FRESCO PAINTING

of the representation of a theme or an incident, a

subject or a story.

Now

the essentials of monumental painting,

if

which we have named, and the special functions of

the art of the painter are united in any scheme of

mural decoration, the result would be an ideal work

of decorative
in

the

examples of which may be found

art,

and

of Giotto,

frescos

majority of the Italian painters

down to the sublime

The older art of

those

in

who

followed him,

creations of Michael Angelo.

the Egyptian, Greek,

Byzantine and Mediaeval schools was,

influenced

by,

and

the

of

in

perfect

in

Roman,

each case,

harmony with the

architecture of the respective periods, and not less,

but even more

so,

were the painting and sculpture of

from the middle of the thirteenth century

Italy

The Byzantine

the end of the sixteenth century.

and

Romanesque

churches
dignified

of

which

mosaics

Ravenna,

Venice

and sculpturesque

decorate

the

Rome

are

and

in treatment,

and from

an ornamental point of view, admirably

architectural spaces of both walls
ings.

The

artists

treated the wall

being

strictly

was made

till

fill the

and vaulted

ceil-

of these ancient schools rightly

spaces as

flat

surfaces,

the wall

considered as such, and no attempt

to treat the subject of the painting in

pictorial perspective, or to give the wall the illusion

of a window.

The

subject or incident,

was

also, for

the most part, mystic in character, and elevated in

spiritual sense, so that the

very soul of their art

f^RESCO PAINTING

was expressed and symbolized

while what

we

may-

the bodily part, either from a want of their

call

power of expressing
neglect

it

or from a careless or studied

of this side of their

And

incomplete.
science of
spective,

even when,

later times,

in

as expressed in

art,

was

was limited and

art,

anatomy and per-

understood,

well

the

this

traditional

treatment of the design was followed out by the

Italian artists,
ings,

both in their mosaics and wall paint-

and was never

lost

sight of

by the painters

subsequent to Giotto, until the seventeenth century,

when the general decadence of art had

The three absolute essentials of

set

in.

and

ancient

mediaeval painting, which also characterized the best

work of the Renaissance, appear

to

have been a

striving after the symbolic expression of the spirit of

the subject, a restfulness and dignity of form, and

Whatever

the beauty of colour.

we ought

else

we

look

for,

to find these three essentials in a success-

In this kind of
work of monumental painting.
and indeed in all art, small things should be
sacrificed to great, and the commonplace or matterful

art,

of-fact to the

rendering or expression of the

parentheses,

in

it

might be pointed

a general sense the

present day

is

tendency

idea

out, that

in

of the art of the

towards a greater dexterity of handling

closer representations of the facts of nature, but less

sincerity of aim.

The more
and

important paintings of the fourteenth

fifteenth centuries

were those which decorated

FRESCO PAINTING

the walls of the Italian churches and palaces, and the

authors of these works were not only painters, but

the majority of them were also architects, sculptors,

and craftsmen

who

in ofold

confined

and

silver

attention

their

Even

work.

chiefly

to

those

painting,

thoroughly understood the principles of architecture,

and often designed and

work,

as

witness

Giotto,

Da

Angelo, Leonardo
If
is

we now

out

carried

architectural

Ghirlandajo,

Michael

and many others.

Vinci,

consider another aspect of

applied to objects of general

that the design and decoration

art,

where

it

we shall find
of such, when rightly
utility,

understood, are in each case subject to the laws that

govern good architecture.

form or shape of a
in
let

Take,

common

for instance, the

candlestick, a vase

pottery or in metal, a cabinet or a chair,

us see

how

far

we can apply

the principles of

When

architecture to their design and decoration.

designing such objects the

utility,

made.

and the next

It is

is

consideration

first

made

is

their

the material of which they are

common enough

the forms and proportions which

objects

and

truism to say that

may be

in a certain material,

suitable for

such as pottery or

glass for example, should not be imitated in another,

such as metal or woodwork.

of

utility

When

and material have been

the questions

settled,

we can

apply the laws and principles of architecture to guide

us

As

in the

design and decoration of the given object.

to design,

first,

we should

strive to obtain

good

proportion of the parts and divisions to each other.

FRESCO PAINTING

and

to the whole.

portion

It will

be found that correct pro-

generally postulates

beautiful outlines

the

We should

and shapes.

also

aim

elements of forms,

for the expression of contrasting

such as curves with straight

determination of

lines,

sharp curves with

others of less curvature, horizontal lines to counteract

vertical tendencies, or

mouldings and

widths arranged to

in

fit

lines of

such positions that

or suggest, constructive strength

all

simply architectural principles, which,

common

the design of

definite claim to

Very

little

objects,

is

will give,

of which are
if

applied to

would give them a

be considered as works of

decoration

varying

art.

required on any article or

object which has been designed on correct architec-

beyond that already expressed by the

or mouldings and space divisions. If, however,

tural principles,

lines

the nature or use of the object permits of the display,

or adventitious aid of such, in order to heighten

beauty, by making

its

more attractive and comely

and principles of architecture will again help us by indicating where the
decoration may be placed, the right amount to use,
the scale of such, and the order of its disposition.
it still

to the eye, then the laws

We

learn,

for

instance, from

architecture that

we

must not weaken the appearance of the constructive

parts,

such as the

lines,

or the mouldings, by any

fretful

ornamentation, but on the panels and plain

spaces

we may

still

legitimately place our decoration, yet

restrained so far as not to interfere with the right

uses of the object, and designed so as to harmonize,

FRESCO PAINTING

some instances contrast, with the lines and

contour.
Examples of artistic objects, designed on
architectural principles, may be found in the Greek
and Etruscan vases and Pompeian bronzes, and, on
the other hand, if some examples may be mentioned

and

in

where the laws of architecture do not

sion in their form or decoration,

almost non-existing,

we might

find expres-

and where

art is

safely point out the

meretricious creations of the Chelsea and Dresden

chinaware, and the gold and silversmiths' work of

the mid- Victorian period.
subject

may be

how important

justified,

This digression from our

on the grounds of showing

the study of architecture

painter, the decorative artist,

in

any branch of

art.

and

to the

is

to the

designer

CHAPTER
MURAL DECORATION

II

SYSTEMS

AND METHODS

Various processes, systems, or methods have been

employed in ancient and modern times in the colour

Under

decoration of walls and ceilings.

of art

is

included

all

the representation

this section

kinds of wall paintings, from

symbolic hieroglyphics,

of the

found in the Egyptian tombs, to the monumental

paintings on the walls of public buildings, churches,

The

and palaces.
colour

is

decoration of wall

surfaces in

one of the very oldest forms of

to a wall painting of

any kind the term

art,

and

" fresco "

has usually, but somewhat loosely, been applied.

however, a veritable fresco paint-

Strictly speaking,

ing

is

one that

is

executed on the fresh or wet lime

and

plaster of the wall,

plaster has
called

become

" fresco

"

**

dry.

not re-touched after the

All other varieties of so-

paintings can only be

as wall paintings,
kind, such as

is

and

qualified according to

fresco-secco," or

kind of fresco where the wall

same way as
dry.

designated

in true fresco,

Before the painting

is

and

is
is

"dry"

their

fresco,

prepared

in the

then allowed to

commenced, the wall

is

well saturated with lime water, and the colours used

FRESCO PAINTING
are the
It

same

as those

wet

Some

plaster.

quently use the term

is

of the old writers fre-

" secco "

when tempera

a process in which the colours are tempered

with a binding medium, such as glue

parchment

size,

with water

gum, of the
^^^
with

painting

Painting in tempera on the dry

evidently meant.

wall

in fresco painting.

not so permanent as work executed on the

is

fresh,

is

employed

made from eggs beaten up

or a size

the Italian painters added the juice, or

fig tree,

and sometimes vinegar

Other methods are

size.

wax

as a

medium, heat being afterwards applied

which the colours are ground

medium and thinned with

of spike

painting

spirits

spirit

in

wax

of turpentine or

German method

water-glass, a

oil

of wall

Keim's process, an improved variety of

water-glass,

The

to the

encaustic, or painting

to the wall to blend or to protect the colours

fresco, in

gum,

size,

and wall painting

in oil colours.

only advantage that these varieties of wall

painting seem to possess over the buon, or true

and may be considered as a

questionable one
that as regards the number of
fresco,

process

it

is,

the colours, the artist

may

use an almost unlimited

or unrestricted palette, while

in

buon

fresco

his

colours are limited to the very few which remain

unchanged when subjected

the lime in the plaster.

to the caustic action of

Tempera

painting on walls

has been so much mistaken for the fresco process

that

it

first

practised,

is

impossible to say

when

the latter was

but according to the statements of

FRESCO PAINTING

10

Vitruvius and Pliny, the process was well understood by the Greeks and Romans.

Perhaps one of

the most interesting revelations in the history of the

has been brought about by the discovery of

art

several fragments of wall

found recently by the

late

and

ceiling decorations,

Dr. Schliemann during

the excavations of the ancient cities and palaces of

the pre-Hellenic

One

Greece.

Mycene and

Tiryns, of primitive

of these fragments of fresco painting,

which was found

in

a palace at Tiryns, consisted of

a portion of a wall or

ceiling,

a stucco

of lime and sand plaster, on which

slab,
is

composed

painted the

representation of a spirited bull with the figure of a

man
of

vaulting over

its

back.

This interesting piece

work must have been executed

as 1500

B.C.,

at least as early

as the city of Tiryns

ruins shortly after this date.

Many

of fresco paintings have also

ruins of these ancient palaces,

was a mass of
other fragments

been found

in

the

some of which were

decorated with linear and geometric ornament, conventional flowers, and animal forms.

Not only were

the walls and ceilings decorated with frescos, but

the floors of

some of the apartments were

a similar manner.

Still

earlier

treated in

examples of fresco

painting have been found in prehistoric Thera, one

of the

Grecian

palace at

and others

isles,

Cnossus, in

in

the

Minoan

Crete, both of which may

have been painted as early as the nineteenth century

B.C.,

and certainly not

The

later than the eighteenth.

wall paintings of the Egyptian

tombs were

FRESCO PAINTING

11

executed in tempera on a gesso or stucco white

ground, the same method being followed

mummy

decoration of the
In

in

the

cases and other objects.

instances these tempera paintings of the

some

Egyptians

were

advantage

to

appearance,

their

darkened, and

which

varnished,

as

not

the

an

varnish

measure destroyed, the

a great

in

was

beauty of the original colours.

Some
said to

of the wall paintings found at Pompeii are

have been executed

in veritable fresco, since

lime has been found in mixture with most of the

On

colours used.
disputed,

the other hand, this has been

and some

authorities

tempera or secco paintings

the matter
colouring
plaster,

used

is,

was

and

amount of the

certain

really

executed on the wet

in

some

as

but perhaps the truth of

first

lime

instances, certain colours,

finishing of the work,

were applied

medium when

afterwards in a tempera
surface

them

that a

that,

the

in

classify

had become quite

dry.

the wall

This method of

procedure, according to the statements of Vasari and

Cennini, was not an

Italian frescanti

centuries.

uncommon

of the

practice with the

fourteenth

and

fifteenth

CHAPTER
FRESCO-BUONO PROCESS
OF THE WALL

on the

is

COLOURS

PREPARATION

METHOD OF EXECUTION

Fresco-buono, or true
the painting

III

fresco, is so called

executed " a fresco," that

wet

fresh, or

plaster,

ing surface of the wall.

is,

because
directly

which forms the paint-

This

plaster, or mortar, is

a mixture of lime and sand, and the colours used in

the painting are such as will remain unchanged in

hue when

When

all

in contact or in

mixture with the lime.

necessary details relating to the method

of procedure connected with the

carried out, true fresco paintings

higher

than

quality of
it

as

said to

have

by any other method or

surface texture and luminous

executed

The

medium.

may be

carefully

permanence and durability

degree of

those

work are

buon

the most

fine

fresco pre-eminently distinguishes

beautiful colour

finish

for

mural

decoration.

The

great permanence

of

fresco

paintings

is

due to the formation of carbonates, and sometimes

silicates,

of lime on the surface of the plaster, which

takes place during the drying of the

latter.

The

FRESCO PAINTING

13

carbonic acid contained in the natural limestone

driven out of

and

it

been slaked into lime

after the burnt lime has

"putty,"

it

is

by the process of burning in the kiln,

has then become what

hydrate of lime.

As

known

is

long as the plaster

is

as a

wet on

the wall the lime in the plaster exists in the state

of a hydrate, and the applied colours of the painting

become saturated with

this

form of lime

but during

the process of drying, the lime on the surface, and to

slight

depth below the surface of the

rapidly absorbs carbonic acid gas

plaster,

from the atmo-

sphere, and becomes a carbonate of lime, which

formed as a hard and

is

crystalline skin, or surface

covering, under which the colours are locked up, and

so protected from any atmospheric influences.

In

addition to this carbonate surface a silicate of lime

is

sometimes formed, especially when

ing

some of the more earthy

may have

silica in

in the paint-

colours are used which

These

their composition.

thin

coverings of carbonates and silicates of lime render

fresco paintings impervious to wet or
surface, so that they

without injury

may be

but bad

air,

damp on

occasionally

the

washed

such as sulphuretted

hydrogen gases, or the sulphur products given

by gas and
the

coal combustion, will

in

off

time convert

carbonate covering into a sulphate of lime,

substance which disintegrates

and destroys,

only the colours, but the plaster surface

would suggest that

in buildings

also.

not

This

which contain fresco

paintings coal fires and gas should not be used for

FRESCO PAINTING

14

heating and lighting purposes, and also that the

buildings should be properly ventilated.

Wall

Preparation of the

The

work
be painted should be of good
wall,
or,

it

wall on which a

Buon- Fresco

in

in buon-fresco is to

brick, or

should be lined with brick on

better

still,

it

hollow brick wall

should be what

that

is,

is

a stone

known

The

linings.

between the bricks should be scored

this

if

inner face,

its

out, so as to

should consist of old lime and coarse,

sand,

mixed with

white asbestos cut into small

mixture more effectually.

bits,

For

gritty

about three-quarters of an inch

gritty,

ox-hair,

or

so as to bind the

this first coating of

plaster the usual proportions are

and two parts of the

joints

rough plaster

for the first coating of

well-washed river

as a

one having an air-space

between the outer and inner

leave a key

one part of lime

sand

it

should be

in thickness.

This

made by
kind of wooden

coating should have a roughened surface,

scratching

it

with a coarse-toothed

comb, and should be

so that

it

may

the intonaco.

is

the best part of a year,

thoroughly harden, before

the second, and

the painting

left for

last,

to

it

receives

coat of plaster, that on which

be executed, which

is

known

as

This plaster mixture must be pre-

pared with great care, and more than

cover the whole wall space should be

sufficient to

made

before

beginning the painting, so as to get the whole

surface evenly tempered, and of the

same mixture

FRESCO PAINTING
for

if

tions,

at different

sand might vary

which would possibly

propor-

in

affect the colours of the

and prevent them drying uniformly, as

to

or tone.

The
is,

lime and

the

painting,
tint

were made, and

different mixtures

times,

15

proportions of lime and sand for the intonaco

one part of lime and three parts of

washed

of the clay and

account
contains
certain

Pit sand

river sand.

well-

must not be used, on

earthy matter which

salt that

and must be

so that there

would

The

cause the lime to perish.

blowing

and

it

nor sea sand, which of course contains a

amount of

slaked,

fine

damp and

lime must be well

the " putty

fairly old in

may be no

attract

fear of

its

" state,

blistering

and

here and there in round flakes on the

off

finished surface,

which

it

will

do

if it

is

too

new

or

not properly slaked, even six or eight months after

the plaster has been spread on the wall.

The method
first

of preparing lime for fresco

to select the best white variety

The

properly calcined.

wooden trough with

and dissolve
mixture

is

brick-lined
dust.

it

lime

is

water to slake

creamy consistency.

The

then strained through a fine sieve into a

pit,

roofed over to keep out the wet and

thick coating of clean river sand should

be put over the lime when

it

has cooled

down and

thickened into a paste, and has become what

known

is,

which has been

put into a large

sufficient clean

into a thin

work

is

as "lime putty."

There are many

tales

and legends concerning the

FRESCO PAINTING

16

extreme old age of lime putty before

used

it

has been

a painting

in the plaster of wall surfaces, or as

material in fresco.
It

has been stated that for some of the Italian

frescos the lime used

matter of fact
after

Edward

Poynter

J.

at

old.

quite ripe for use about

The

has been slaked.

it

Church

it is

was eighty years

in his fresco

in

St.

Houses of Parliament

The

three years.

one year
Stephen's
old,

and

frescos

was

quality of the lime, however,

of more consequence than

its

lime used by Sir

Dulwich was about two years

that used in the

As

age.

is

The common

grey lime used by the London builders should be

avoided

the best English variety

limestone, which

is

is

the pure white

quarried and burnt near Buxton

in Derbyshire.

Before describing the method of laying on the

last plaster

ground, or intonaco, a few words must

be said about the preparation of the design or

subject to be painted.

finished coloured draw-

ing or painting of the design, to a smaller, or even

same scale as the fresco painting, must be

prepared, and the artist should endeavour to make
an exact copy of this on the plaster surface, as there
to the

is

no time to experiment

make

alterations

in the short period

when he

in colour

schemes, or to

from the original coloured design

that

is

at the disposal of the

work on the wet plaster. If

the colour sketch of the work is prepared on a

painter

small scale

it

is

will

at

be also necessary that a cartoon

FRESCO PAINTING
in light

17

and shade drawing should be made to the

scale of the fresco painting, before beginning to

full

paint on the wall.

As

the colours, and everything else that

must be

required,

before laying on the plaster

mencing the

and close

painting,

will

it

may be

hand
ground and before com-

readiness,

in

at

be as well to indicate

here the proper colours which

may be safely

used on

the lime plaster.

Although the palette

in buon-fresco painting

is

very simple and restricted as to the number of the

colours which

may be

trusted to withstand the caustic

action of the lime, at the

luminous colour scheme

standing the
following

White
Yellow

list

Red

be safely relied upon

The

Raw

sienna (a ferruginous earth).

yellow {cadmium sulphide^.

Light red {calcined Oxford ochre).

Indian red {ferric peroxide).

Blue

may

and

Vermilion {sulphide of mercury).

,,

limited range of the palette.

Cadmium

,,

fairly rich

obtained, notwith-

Lime white {hydrate of lime).

,,

same time a

may be

Cobalt

blue

{phosphate of cobalt

and

alumina).

Green

Oxide

of

chromium

{anhydrous

ses-

quioxide of chromium).

Emerald oxide of chromium {hydrated

oxide of chromium

boi'ax).

Cobalt green (oxides of cobalt and zinc).

Orange

and

Burnt sienna {t-aw sienna

calcified).

FRESCO PAINTING

18

Brown

Raw umber

and
,,

Black

{oxides

of

iron,

manganese,

clay).

Burnt umber (raw umber calcined).

IwoYyhXdLok (charred bones).

There are other pigments that might be used, but

are really not necessary, and some of them are

One colour,

doubtful as to their permanence.

our

list,

not in

the genuine ultramarine, a splendid blue,

is

and thoroughly permanent

great price prohibits
quantities, or

its

buon-fresco,

in

but

its

use, except in very small

on small portions of the work.

or factitious, ultramarine

is

French,

also very permanent,

and withstands the action of the lime, but at the

same time it is a most harsh and disagreeable colour
when used in lime or in any other kind of fresco
when used alone it destroys by its intensity of hue
the proper values of other colours in the scheme
on
;

the other hand,

any attempt

if

down by mixing

it

list,

as

milion

in the
is

it

is

extreme, so

it

it,

is

the result
best

almost unmanageable

rendered

made

to tone

it

with another pigment, or by

glazing another colour over

muddy

is

durable in fresco

left

is

cold

and

out of the

in fresco.

Ver-

by pouring lime-

water over the powdered colour, and then draining

this

water

washing

is

vermilion
is

off,

is

without disturbing the colour.

This

repeated four or five times, before the

ready for use.

Permanent white, which

a barium sulphate, and tin white, or tin binoxide,

may

both

be used

in lime frescoes,

but they are

unnecessary, and not so good for the purpose

as

FRESCO PAINTING
Lemon

lime white.

yellow, Naples yellow, aureolin

Venetian red, and terre-verte

but

all

it

depends on the

may be used
they

For example, the

safety.

with lime,

manufacture of these

colours as to whether or not

with

19

may be used
Naples yellow,

Venetian red, and terre-verte pigments of to-day are

quite different in their chemical constituents to the

same named colours of the fourteenth and fifteenth

centuries. Yellow ochre, though it has been used very
much by the old Italian frescanti, is not to be depended
upon when used in lime fresco in this country, as it
consists of a mixture or combination of hydrate of

iron
is

and clay

nearly always present in our

course,

but

it

it

atmosphere.

that

it

Of

has been one of the

pigments which has largely perished

the frescos of the
objection to

its

an

is

is,

which

that the caustic

may not be

sienna, however,

the place of yellow ochre, and

is

useful colours in fresco painting.

that the three

some of
Another

apt to change yellow ochre to a

after effect

Raw

in

Houses of Parliament.

use in fresco

nature of the lime

desirable.

that

can be safely used in very dry climates,

may be mentioned

light red,

damp

therefore attracts the

it

altogether

more than takes

one of the most

We

should say

most permanent and beautiful colours

on the lime plaster are raw sienna, burnt

umber, and Indian red, and whether used in trans-

for use

parent washes or in solid

lime-white, or in the

always dry out

full

tints,

as

when mixed with

strength of their hues, they

luminous and

brilliant.

All the

FRESCO PAINTING

20

colours should be ground very finely in water, and

kept

The

covered jars or wide-mouthed glass

in

bottles.

lime-white should be strained through muslin

and kept covered.

bone or ivory palette knife

must be used, and the palette should be made of

tinned

metal,

having a series

of

small

circular

Brushes are of

wells to hold the various colours.

the ordinary kind, hog-hair, and a few long sable

Hog-hair brushes are best

riggers.

they

of a

are

flat

at the end, like

when
wet

in

for use

when

shape, but of a roundish finish

an old or half-worn brush, so that

use they will not disturb the surface of the

plaster,

which a new or square-ended brush

is

apt to do.

When

everything

in

is

readiness to

commence

work, a portion of the rough wall surface should be

thoroughly saturated with water, and the plaster

ground, or intonaco, should be laid on with a wooden
trowel, beginning at the top
wall,

and large enough

work, or, rather, as

five

hours

on the new

and

at

an angle of the

in

area to constitute a day's

much

as can be done in about

not safe to work

for after that

time

plaster, as

then becomes too dry

allowed to get

it

it is

in this condition

if

the colours will not

properly incorporate with the body of the plaster,

done when the plaster is in a

half-dry state the colours will not adhere permanently
to the wall, but will scale off the surface, or may be
for

if

any painting

brushed

off loosely

is

when

dry.

When

of the plaster ground becomes too dry to

any portion

work upon^

To face page

PLATE

SO.

Photo, Solas.

PORTION OF FRESCO BORDER ON SOFFIT OF ARCH,

VICTORIA AND ALBERT MUSEUM. SOUTH KENSINGTON.
After the design by Sir E. J. Poynter, P.R.A.

3.

.S

HTAjq

FRESCO TAIM
colours should be ground very finely

wide-mouthed

kept in covered jars or

The

in

uui.

gla:>:.

lime-whlrp ?;hould be strained through muslin

Hone or ivory palette knife

and kep;

be uv

OTust

tinned

should be

having

metal,

.!!

made of
circular

wells to hold the various coiouis.

the ordinary kind, hog-hair, and a

Hog-hair bru^^*

riggers.

they

of a

are

fiat

at the end, like

when
wet

^<^

it-v^

^*"^

^'^-

.......

sha,

finish

an old or half-*

in use they will not disturb the sui

plaster,

apt to

which a new or square-ended brush

i\

When -.;

rw^rKr-ioce

work, a portion

t,-,

'-^"V,..|,,,,v.v,

ground, or intonaco, should be

laid

of the

trowel, begii;

and large enough

work,

or, rather,

hours

as

'

much

as can

ju

uunc

aoout

work

time

on the new

plaster, as

then becomes too dry

allov*

cj

for

it

'

any

it is

not safe to

ith

the body of

tl^

p^.

half-dry state tnc

to. the wall, b=

brushed

'

off

of thv

,H3A HO

Tmo8

^yiOTOmSVL^yi

if

in this condition the colours will not

propc
if

y's

;/.

for after that

five

be

'uld

(.

thoroughly saturated with

wall,

is

yio ;i3aHoa oDaaHT

ho vioit^o<i
HTU08 MU^ZUU T^3ajA OKA
A^OTDIV

&K^ IW
1

']

yJf#j-
,f'<r5fls

FRESCO PAINTING

21

must be cut right away and a new coating of

plaster applied
it is of no avail to syringe it with

it

water

order to keep

in

it

damp

for painting on, as

the water only weakens the nature of the lime in the

The

plaster.

chemical action between the atmo-

sphere and the lime, necessary for the firm locking

up of the

colours, will

five hours' time,

sphere

and

have taken place

after four or

according to condition of the atmo-

this action will not repeat itself or

be

brought about by any application of water after the

period named.

When

the day's work

surface not painted on

plaster

all

is

finished,

any part of the

must be cut away, and the

around the edge must be under-cut, the

cut sloping well inwards, so as to form a key for

the

new

piece of plaster for the next day's work.

This coating of plaster should be rather more than

half-an-inch in thickness,

level,

wooden

and should be finished

to

but not too smooth, a surface, with the

trowel, or

not be used.

" float."

An

After the plaster

must

iron trowel
is

laid

on

it

should

remain about ten minutes or so before painting, so

should then be coated with

as to allow

it

would be a deep vellum colour when dry,

tint,

made

that

to set.

It

little

raw

this will

give

of a mixture of lime-white and a

sienna, about the thickness of

cream

a slightly smoother surface to the plaster and will

act as a luminous
ing,

ground

for the

subsequent colour-

besides acting a very important

part

as an

under-coating on which the superimposed colours

FRESCO PAINTING

5J2

will "

bear out

"

more

effectively.

The

water used

should be distilled or boiled, or rain water collected

in clean vessels, as

hard water generally contains a

quantity of chalk, and for this reason

not so

is

it

powerful a solvent of the lime as soft or

distilled

water.

The

portion of the design selected for the day's

painting

is

from the cartoon, and

traced

trans-

is

ferred to the soft plaster through the holes, which

are pricked

through the tracing paper, by means

of pouncing with powdered charcoal contained

a muslin bag, or

may have

it

in

the outline traced

through with a sharp-pointed wooden

stile

this will

leave a slightly depressed line on the soft plaster,

and

is

a cleaner method than the charcoal pounce,

and on the whole the more preferable one.

We have now arrived at the stage of the work

when

may be proceeded

the painting

be here mentioned
the colours and

that, in

various

with.

may

It

order to try the hues of

tints,

an ordinary brick

having a thick coating of plaster of

Paris, that

has

been allowed to become thoroughly dry, should be

at hand.
tint,

If a touch

be put on

from the brush, dipped

this

plastered

brick

it

in

any
dry

will

immediately, and show at once the actual shade of

colour that such a tint will be when, after
it

has dried out on the plaster surface.

some
It

days,

generally

takes three or four days, according to the season of

the year, or heat of the room, before the wall surface

and the applied colours

finally

dry

out,

and

all

Plate 4. Trial Piece of Fresco Painting

G. F. Watts, R.A., Victoria

and Albert Museum

To /ace p.

23.

FRESCO PAINTING
colours,

more

28

particularly the lighter tints

tones, dry eventually ever so

appear when

on.

laid

first

much
It

and

half-

lighter than they

only the very

is

darkest tones, or pigments used in their

strength,

full

those that have no lime mixed with them, that dry

anything near the

strength of their wet state,

full

and then there are exceptions

to this

that in buon-fresco painting the artist

much darker key than

appear when

the

work

so

follows

it

must paint

is

in

intended to

has dried out.

it

As regards the method of execution in painting

it may be urged that the artist will work according
for example,
to his own feeling or temperament
paint
in
thin
transparent
some may decide to
:

washes or glazings, as
others

may

prefer

may be adopted

water-colour painting

use the colours

to

impasto method, as

in

same

work,

luminous
lends

obtain

results, for, as

itself

we

with success, but

will

the

a thick

Either method

in oil painting.

that a judicious mixture of both

in

should say

methods,

clearest

and

in

the

most

a matter of technique, fresco

admirably to either methods of painting.

The

general rule

and

lights,

is

to

broadly at

model the shades, half-tones

first

and

in the

order named,

with brushes rather large than small, and then to

finish off

by strengthening the shadows with

lesser

touches, or by a series of delicately hatched lines,

and brightening the

for

these

purposes

reason for this

is

lights in the

sable

same way, using

rigger

that every touch

brushes.
tells,

The

especially

FRESCO PAINTING

24

when using

a sable brush

on your brush on the

you cannot press or lean

soft plaster

without disturbing

the underneath colours, and possibly destroying the

surface of the plaster as well.
this that the fresco painter

hand

for his

work

It will

must

in oil or

in,

say,

cultivate a light

he cannot indulge,

that dexterity of handling that

be seen from

for instance, in

may be accomplished

spirit-fresco painting,

simply be-

cause of the danger of working up the soft and wet

plaster

ground

and must do

it

he must know what he has to do,

frankly and at once

a certain extent the artist

parts

may be

for,

although to

able to paint over

and so correct occasional mistakes,

it

is

not

advisable to do so, as the corrections will more or

show when the work has dried out, by looking

muddy, and consequently less luminous than they

less

The

ought to be.
is

necessary,

is

only alternative,

fresh plaster ground.

it is

to

have a

when

to cut the piece out,

All this shows

a correction

and lay on a

how important

full-sized cartoon in light

and shade,

and also a colour scheme previously prepared, from

which the fresco painting
directly

on

to the

wet

may be

plaster.

almost copied

[To /ace p.

Plate 5. Trial Piece of Fresco Painting

G. F. Watts, R.A., Victoria

and Albert Museum

25.

CHAPTER

IV

PAINTING OF FLESH AND DRAPERIES

PERMANENCE

OF BUON-FRESCO
In beginning the painting of flesh and draperies

on the wet

in

any other kind of

important to

commence with a

plaster, or

wall painting,

is

it

indeed

kind of modified outline.

also to

any other prominent objects

composition.
laying

This, of course, applies

It

the

in

therefore advisable

is

before

the

main

drawing should be outlined firmly

with a sable brush, even

obliterate

the

within

Having

it.

design or

that,

masses of colours,

first

features of the

in the

outline

if

you modify or

when

afterwards

half-

painting

outlined the 'portion selected for

painting on the prepared light or cream-coloured

ground, supposing
the

human

lay in the

figure,

it

to

be a head or other part of

a very good

shadows

first,

way

to begin

hog-hair brush, the shadow colour to be of a

greenish

tint,

of a

to

warm

mixture of emerald oxide of

chromium, raw sienna, and

get transparency.

is

using a soft or half-worn

light red,

Immediately

or modelling of the shadows,

25

used thinly to

after the shading,

is

accomplished a

FRESCO PAINTING

26
general

flesh-coloured tint

and

tone,

is

is

made, of a medium

swiftly brushed over the parts

the lights

and half-tones would

that

worked very

is

it

it

As soon
and

tions of the cheeks

should be painted
general

flesh

care
into

ought to

tint

quantity of lime-white to render

little

semi-opaque.

taking

sparingly

or

thinly

This flesh-coloured

the shadows.

have a very

be,

where

lips

the

done the carna-

is

and colours of the eyes

Then on

in.

tint

as this

the

of

colours

top of the

the

cheeks, and neck should be worked

in,

forehead,

according to

the colour of the sketch, gradually brightening the

parts

lighter

required.

and

For

strengthening

this

the

shadows

second painting of the

as

flesh the

shade colour, modified of course according to the

complexion and position

made

it

is

to occupy,

of a mixture of raw sienna, light red, burnt

sienna,

and a very

little

colours, with vermilion

be used

emerald oxide.

and lime-white

for lights

lightly

tones,

The same
added, may

and half-tones, and the transition

tones between lights and half-tones

by

may be

dragging the lighter

may be obtained

tints

over the half-

which operation usually produces the natural

greyness required

markings of the

in these parts.

nostrils, lips, eyes,

For the darker

and eyebrows,

or any dark accentuations of the flesh

umber used alone or mixed with a

or burnt sienna,

may be employed.

be used for the same purpose

sienna or vermilion.

At

if

tints,

little

burnt

vermilion,

Black

may

also

mixed with burnt

this stage the flesh-coloured

^}ur,
..;..ii

..

may be

iv,f:-

On coming
found

considerable amount of retoucv

done nar

aiui

lights

back to the

necessary to do a
'".is

can

rh^

IS,

It

often

happens that

dry out tighter

;e

iresni) laiu u;.

(ime. ^H'

.1

be

still

tl

^^ ,8TTAW

and

.c)

Ya 83^Uon 33HHT 30 4UO;iO

sr-

th

PLATE
To face page

GROUP OF THKEE FIGURES BY c

Trial Piece of Biion Fresco,

Victoria

and

F.

AU>ert

WATTS, R.A
Museum.

FRESCO PAINTING
may be

parts

left to

dry

and get firmer

in a little

when

before finally finishing these parts,

may now be

flat

work may be

tint

laid in at

These portions

once with an almost

of strong local colour, and the lights and

shades modelled into

flesh

attention

directed to the painting of the hair,

head-dress, or any small accessory.

of the

27

portions

it

it.

On

coming back

may be found

to the

necessary to do a

considerable amount of retouching

this

can

still

be

done near the end of the day's work, as long as the

touches are small and delicate, and provided there
is

As

no serious repainting attempted.

regards the

general question of retouching a word of warning

necessary

and that

is,

it

often happens that

is

some

touches which are intended to dry out lighter than

on which they are superimposed

the colour

will

appear actually darker than the underneath colour

when they are freshly laid on this generally happens

when the colour which is being used contains some
;

lime-white in

its

mixture, and

capricious behaviour of
that

some

entirely

if

will

It

stands

and

to this

opaque or semi-opaque

have preferred

to

work almost

the lime-white

reason, however,

to

tints

that

the

be more luminous and more permanent

the colours are

lime,

owing

is

transparent washes on

in

ground.

work

artists

it

all

some degree with

be more complete incor-

mixed

also there will

in

poration or cohesion with the colours and the plaster

ground.
It

may be mentioned

that

if

a general tone of

FRESCO PAINTING

28
colour

be given to any large surface, or

to

is

same colour

as in draperies, skies, buildings,

fresco,

if

the

to appear in different parts of the

is

etc.,

a few

shades of the colours required should be mixed and

preserved

in closed jars for future use, as

it is

almost

impossible to match shades of a colour with any

degree of accuracy where

lime

is

one

of

the

ingredients of the mixture.

The

way

simplest

to paint drapery in fresco

outline the work,

first

folds

to

and also indicate the principal

then prepare three shades of the

outline,

in

is

general colour so that the darkest or shadow tint

not be so dark as the

will

the lightest so

light

finished

are

lights

the middle tints or half-tones next, and always

with painting the lights

finish
in

the

darkest shade, nor

Paint in the shades and shadows

intended to be.
first,

as

final

the

must

operation

modelled

into

constitute the

its

first

be

each

lightly

neighbouring
painting,

tint,

of course,

or

delicately

tint.

and when

This

will

finished

it

should be allowed to remain for ten minutes, or

more, to sink properly into the plaster.

For the

second painting a darker shade than the darkest

used

in the first is

and depths of the

with a

still

prepared, and the darkest accents

folds are delicately expressed

painting, used in a fairly thick consistency,

full

brush,

and

lighter tint than the lights of the first

and with

the higher lights of the drapery are

work ought now

present the appearance of a monochrome study

then painted

in.

The

piece of

to
in

FRESCO PAINTING
light

and shade, but

it

may be

29

necessary to indicate

some portions of the shadows, and

a blush of some other colour to
make the study a more truthful representation of
drapery texture, or of the accidental lights, and also
reflections from surrounding objects.
These extra
reflected lights in

the lights

tints

may want

should be put

second painting
to

is

proper places after the

in their

done

and care should be taken

mix them of a purer or brighter colour than they

appear

in the

coloured sketch, so that,

when they

are glazed lightly over the work, the underpainting,

which

is

of a different

colour,

will

show

slightly

through and modify these bright glazings to the

required tones.

more than once

may be

It

necessary to glaze over

order to get the desired

in

effects,

but that will not matter, provided that the glazing

done with a

is

light hand, so that the underpainting is

not disturbed.

When

painting foliage, flowers,

fruit,

ornament,

same method of working

or architecture, the

also apply, but the treatment of such objects

be simpler, and

will

be found

less difficult,

will

would

than the

painting of drapery.

We

have gone somewhat into

to the

this description as

detail

in

giving

methods of painting

we have done

because

in

we

buon-fresco,

but

believe

be the best and highest form of wall

it

to

decoration, and
is

we

so

are convinced that

obtained, properly

if

a dry wall

prepared, and none but

best and safest colours used,

it is

the

a perfectly possible

FRESCO PAINTING

30

medium

for wall decoration,

even

this climate of

in

ours.

As
fresco

a proof of this
painted

similar to

in

we wish

to

mention that the

method, and with colours

this

what have been described as suitable

buon- fresco, by Sir Edward

Poynter,

J.

for

P.RA.,

in the chancel of St. Stephen's Church at Dulwich,

about thirty-five years ago,

at the present

is

in a perfectly

sound condition, and

looking and

bright as

exposed to the

when

first

it is

and

painted.

It

is

when

the church

is

subjected to the fumes of the gas

that lights the church, yet

deterioration

almost as fresh

of condensed vapour and

effects

moisture in the winter months,

heated, and

is

moment

it

shows no signs of

on the contrary, the surface looks,

feels to the touch,

more

like terra-cotta, or of

the texture and firmness of biscuit porcelain, than

anything else one can think

When

one hears of frescos perishing

country, like

ment,

due

of.

some of those

in the

Houses of

in

this

Parlia-

we may be sure that the causes are not always

damp climate, nor altogether to sulphur

to the

gases, but either to a badly prepared wall surface,

or,

what

is

more than

likely,

the use of one or two

doubtful colours, that in perishing will even loosen

or destroy other sounder colours

to or

mixed with them.

when juxtaposed

Photo. Solas.

Plate

[To face p.
3.

St.

Stephen before his Accusers, and the Stoning of

St.

Sir E. J. Poynter, Bart., P.R.A,, Fresco in St, Stephens Church, Dulwich

Stephen

30.

CHAPTER V
SPIRIT FRESCO PAINTING

The method

of painting followed out in the spirit-

system, as far as the manipulation of the

fresco

colours

is

concerned,

is

almost precisely the same as

that of the lime or buon-fresco process, the exception being, that the over-paintings

may be executed
years, after

at

any time, weeks, months, or even

any previous painting of the same parts

but as the preparation of the wall

what

and retouchings

different,

and the medium

is

is

of course somealtogether so,

a short description of the method or system

may

be of interest to students.

method or process
invented by Mr. Gambier Parry of Gloucester, and
which he adopted when painting his mural decorations in St. Andrew's Chapel in Gloucester Cathedral, and in Highnam church.
The process was
adopted by the late Lord Leighton for the wall
paintings of " The Arts of Peace," and " War," in
the Victoria and Albert Museum, and, many years
Spirit-fresco

painting

is

previous to the painting of these

fresco painted

by him

in
31

works, for the

Lyndhurst church

in the

FRESCO PAINTING

82

New

Some

of the frescos in the ManchesFord

Madox Brown, are painted
by
ter Town
in this process, and some of the paintings by various
modern artists which decorate the interior of the
Forest.

Hall,

Royal Exchange are executed

medium on

in the spirit-fresco

coarse canvas, and afterwards fastened

to the wall.

Although we cannot claim

peculiar quality

of monumental dignity,

undoubted luminosity or power of

that

is

nor the

reflecting light

characteristic of buon-fresco paintings,

the entire system

that

for spirit-fresco

still, if

carefully carried out, from the

is

down

preparation of the wall

to the finished painting,

the work should be as lasting and as permanent as

any other kind of wall painting.

For
had

by Lord

instance, the spirit-fresco executed

Leighton
still

in

Lyndhurst church, forty-four years ago,

retained

and was

brilliancy of colour

its

in

a perfectly sound condition three years ago, when the

writer last

saw

In the winter season water from

it.

the condensed moisture constantly runs

surface of this fresco, but does not

No amount of damp

seem

down

the

to injure

it.

or wet on the surface will injure

spirit-fresco paintings, as the colours are practically

locked up

in

wax, upon which water has

injurious effect, but

the wall

if

is

damp

little

or water gets in by accident, the plaster

behind becomes
surface
surface

is

is

soon

soft

and

friable,

destroyed.

the greatest

enemy

or no

at the back,

ground

and the coloured

Damp

behind

the

to this kind of fresco,

\To /ace p.

Plate

9.

Detail from The Arts of

Lord

Lcighton, Vicloria

War

and Albert Museum

Fresco

32.

FRESCO PAINTING

33

and consequently the inner surface of an outside

wall should not be chosen for an important work in
this process.

As

Leighton
"

and

Lord

the writer had the honour of assisting

in the execution of the "

War "

frescos

Museum, and

in

Arts of Peace

Victoria and

the

"

Albert

also prepared both walls before the

paintings were executed, he

is

therefore enabled to

give a brief description, as outlined below, of the

whole method of procedure, both as

tion of the walls

which

serve to explain

will

to the prepara-

and the method of painting adopted,

the system of spirit-

fresco painting.
It

in

may be mentioned

method and
part

that the walls were prepared

directions.

work,

of the

and

Gambier

Mr.

accordance with

strict

Parry's

Mr. Parry inspected

declared

that

the

this

whole

preparation had been done to his satisfaction.

rough brick surface of the wall

First of all the

had a coating of

plaster, consisting of

a mixture of

lime and river sand, exactly of the same proportions,

and

laid

plaster

on

in the

same thickness

coating in

remained

buon-fresco.

the

After this

first

had

two years, a second coating, again

for

similar in composition
in

as that of the

last-named

and

in thickness to that

process,

was

applied.

used

This

was finished off with a rectangular

wooden trowel, and, in the case of the wall on which
the "Arts of War" fresco was painted, it was left
plaster coating

with a

fairly

rough surface.

The

wall surface of

FRESCO PAINTING

34

the "Arts of Peace" fresco was, on the contrary,

brought to a much smoother

of

Lord Leighton

to

face, as

it

was the desire

have a smooth surface

for the

working on the rough surface of

the former fresco was, as he remarked, " Hke painting

latter painting, for

on a gravel walk."

When

was rather
more than half-an-inch in thickness, had remained
for about eight months, in order that it might get
thoroughly dry, the wall was saturated with two coats
the coating of plaster, which

of the " wall wash," this being

which the

in

wax,

gum

the

medium

spirit-fresco colours are ground,

with one and a half of

spirit-fresco

made from

medium

its

is

mixed

The

bulk of turpentine.

a mixture of pure white

and

elemi, oil of spike,

artists'

proportions of each are given at end of

copal

'this

the

chapter.

After the second coating of the wall wash had dried

in,

a day being allowed for

and half

dry white lead,

this,

a coating made of

quantity of gilders'

its

whitening, thinned out with wall wash, was applied

as

thickly as

little

it

could be

conveniently used.

yellow ochre was added to this mixture

order to

a creamy

obtain

white ground,

A
in

which

enables the artist to see by contrast the pure white

lights that

may be used

in the painting, as the

work

proceeds.

The

**

Arts of

War "

fresco

ground was treated

with one coating only of this last mixture, which

accounted for
*'

extremely rough texture, while the

its

Arts of Peace

"

wall surface

had three

coatings, as

Plate 8. Detail from The Arts ok

War

Lord Leighton, Victoria and Albert Museum

[To /ace p.

Fresco

34.

FRESCO PAINTING

35

the nature of the subject was thought to

smoother

The
used

surface.

and the colours

mixed or diluted

wall wash, preparation coats,

the

in

being

painting,

all

with the same medium, and the spike

the

demand a

having the

artist's dipper,

effect of

used

oil,

in

opening up

the ground coating, allows the colours to unite with,

or melt into, the ground, the latter being extremely
porous, so that

when

finished

and dry the work forms

a continuous body from the surface right into the

In

plaster.

continuity

this

body

of

spirit-fresco

resembles closely that of the buon-fresco.

The

process admits of repainting and retouching

as often as

may be

necessary, though

the sake of gaining a desired luminous

frankly with a

full

it

is

best, for

effect, to

paint

brush, laying on the colour in an

impasto, and where depth of tone or transparency

is

desired these effects are best obtained by washing in

thinly or glazing the shadows, using the colours

the spike

oil

The method

medium, as
of

work

is

in

water-colour painting.

really, in the execution,

mixture of the techniques of

painting.

One

of

its

great

oil

and another

work

any time, or

at

is

and water-colour

advantages

is

practically unlimited range of colours allowed

palette,

and

that the artist can take

stage, neither of

the

on the
up

his

which obtains

in buon-fresco.
It

may be

of interest to describe the method of

carrying out the painting of the work in connection

with the South Kensington frescos.

The

original

FRESCO PAINTING

36

designs were painted carefully in brown monochrome,

in light

and shade, and were enlarged as

on a canvas

fine outlines

to the exact size of the wall space

made on

these enlargements tracings were

from

tracing

and these tracings were pricked through and

pounced on to the wall with powdered charcoal, this
cloth,

impression being intensified by going over

lead pencil.

it

with a

small coloured sketch in the case of

each fresco was prepared

in

oil

colour,

which was

copied in the colouring of the larger

fairly closely

For convenience, the monochrome cartoons

each case were photographed to full scale, in

work.
in

sections,

and the

light

and shade was

faithfully

copied from these photographs, so that in the execution of the painting on the wall there should be

no

hesitation, nor

The

first

any experimenting

in colour.

work done on the

piece of

wall was one

of the largest and most prominent figures, and was

painted as far as possible in direct and

full

colour.

The

nature of the medium, however, does not always

lend

itself to

one painting
tints,

full

work

straight off in

this is the case especially in the flesh

The

or in any elaborate drapery modelling.

method
a

the finishing of the

usually adopted

was

to lay in the tints

with

brush and solid colour, carrying the modelling

as far as possible in the first painting.

working over the same part

is

Too much

liable to bring

up the

wax, and to cause the work to dry unpleasantly

glossy.
is

When

there

better to leave off

is

a danger of

this

occurring

it

and take up the part again after

Plate

io.

Detail

[To face p.

from The Arts ok Peace

Lord Leighton, Victoria and Albert Museum

37.

FRESCO PAINTING

87

When

allowing a day or so for drying.

any part

required a second or third painting, which usually

happens,

was found best

it

the whole of

to begin

by moistening

over with a very thin transparent

it

of the local colour, using plenty of spike

has the

oil

tint

this

opening up the wall surface by caus-

effect of

ing a slight melting of the paint underneath.

The

painting was then carried to a completer stage of

by reinforcing the higher

finish

The

shadows.

lends

process

and deeper

lights

itself

to the

accom-

plishment of almost any degree of finish by the use

of subsequent washes of thin colour in the shadows.
It is better,

as a matter of technique, in any kind of

fresco painting to always

in

employ the brush strokes

the direction of the lines of the form, and not

across

it,

for this

directly

as

in oil painting

one reason

work can be accomplished more

and rapidly, and another is that the drawing
is

that the

of the forms
It

done

often

is

is

better expressed.

may be

noticed

that

there

is

marked

difference in the technique of the painting of the

two

frescos in the

painted

first,

is

museum.

treated

The "Arts

broadly,

throughout used rather thickly, while

of Peace

"

in the "

Arts

method of treatment in the use

apparent, and the modelling in the

a thinner

of the colour

is

latter, especially in

to a

of War,"

and the colour

the heads and nudes,

higher degree of

is

carried

without any loss of

finish,

breadth, by means of small brush strokes, or "hatching."

This method of work

is

of special value in

FRESCO PAINTING

88

and was adopted

fresco painting,

to a very great

extent by the Italian frescanti of the fifteenth and

Michael Angelo painted, or

sixteenth centuries.

least finished his frescos

this

when he copied

frescos

" Creation

the

the Sistine Chapel in

in

Lord Leighton had satisfied himself

point by a close examination of the Sistine

hatched lines

on

the figure of

of Man," which

method of treatment, as seen

the

Arts of

War

"

fresco,

in

from

The broader

the technique of

more popular,

the

is

Adam

painted in one

is

of the ceiling panels of the chapel.

"

at

but Lord Leighton preferred the technique of his

later work, the

The

following are the constituents of the

which

in

"Arts of Peace."

the

according to Gambier Parry

/Elemi resin
_

u
by heat.
..

-^

Finest preparation of

used freely

^j

in the dipper,

when

ozs.^j
8
Sozs.l,,

\^
measure

powder are ground up

into tubes for use.

ozs. /

20 ozs

colours in a dry

medium, and put

2 ozs.^

artist's

copal

The

....

Oil of spike lavender

ground,

(gum elemi)

Pure white wax

are

fresco-colours

spirit

medium

Spike

painting.

in this

oil to

be

Photo. Alinari.\

Plate

ii.

The

\To /acep.

Birth of the Virgin

Ciotto, Cloister of Sta,

Maria

Novella, Florence

39.

CHAPTER

VI

ON THE COMPOSITION, COLOUR,

AND PRESENT STATE OF SOME ITALIAN FRESCOS

TECHNICAL NOTES

During a visit to Italy in the summer of last year

the writer made some notes on the composition,
colour, technique, and present state of some of the
Italian

frescos,

which

he hopes may interest the

reader.

Among
still

the frescos by Giotto

exist in

in the

(i

276-1 336) which

Florence, perhaps the finest are those

Bardi Chapel,

where so many of the

Church of Santa Croce,

in the

illustrious Florentines are laid

at rest.
.

"...

here repose

Angelo's, Alfieri's bones, and his.

The starry Galileo,

Here Machiavelli's

The

three

small

with his woes

earth returned to

frescos

whence

it

rose."

on the walls of the

Church of Santa Maria Novella

are of great interest to students, as they were
painted by Giotto when his artistic powers were
cloisters

of the

in full maturity,

and are among the best examples

of the master.
39

FRESCO PAINTING

40

On

the walls and ceiling of the Bardi Chapel,

Giotto has painted a series of frescos illustrating

scenes in the

On

life

and death of

Francis of Assisi.

St.

the right wall, beginning from the top,

" Confirmation of the

the

is

Rules of his Order by the

Pope"; "St. Francis before the Sultan"; "Chal" St.

lenging the Magi to the Ordeal of Fire "
;

Francis blessing Assisi

"

On

the Bishop of Assisi.

and,

the

wall are the paint-

left

" St. Francis flees from his Father's House,"

ings,

and,

where

Death,

his

he

the lowest one on the

left,

best compositions, though

is

The

sorrowing confraternity.

his

and

is

not

it is

a coloured outline, and has been

It

is

only

the

painting

chapel which has

of

life

almost in

is

a deep

repainted,

is

fresco

latter

one of Giotto's

much more than

much repainted.

the

figures

in

is

series

in

this

this

in

his

fresco

are

with the exception of

grisaille,

kneeling figure of the podesta,

cloak of the

which

of

by

surrounded

been noticed by Vasari

The

Giotto.

painted
the

appearing to

his

red.

The

a dark blue,

sky,

which has been

the centre of which

in

appears the figure of the saint in a halo, surrounded,

or supported by four angels on clouds.

ing of this portion

is

is

in beautiful

evidently the untouched

The background

work of

architecture

is

and handling

and

in

broken

In spite of the

the complete design and

original colouring

colour-

tints,

Giotto's hand.

expressed

tints of a yellowish stone-colour.

repainting,

The

golden

still

some of the
remain.

It is

fe

fa

FRESCO PAINTING

41

one of the best of Giotto's didactic works, apart

from the

excellence

of

sketched calmly in death

its

The

design.

saint,

the intense, yet dignified

sorrow of some of his surrounding brethren

and the

eager examination by others of the marks of the

stigmata, are well expressed in the

groups of

faces of the central

of the painting

sides

and

stately figures,

where

all

the

occupied

are

who

action

attitudes

and

while both

figures,

by observant

look on the central scene

is

This sym-

represented.

by placing
more quiescent and choragic figures at either
of the picture, and the chief actors in the centre,

metrical kind of composition, produced

the
side

was a favourite design of

in

many

of his great works

ample, in " St.

which he adopted

Giotto's,

among others,

House," painted on the upper part of the

and

"

the

in

the opposite

many

Italian

for ex-

Francis fleeing from his Father's

left wall,

Ordeal of Fire," on the centre of

wall.

It

artists

also adopted this

may be

pointed

subsequent to

arrangement

in

out that

Giotto

have

their decorative

compositions.
It is

a moot question whether Giotto thought the

illustration of the scene, or the story, or the correct

balance and distribution of the units of his composition

was the more important

in

however, he invariably told his story

could

tell

it

better,

while

at

the

any

well,

case,

no one

same time

his

compositions are undoubtedly consistent with the

principles of

good decoration.

FRESCO PAINTING

42

In this chapel of the Bardi, on either side of the

window, Giotto has painted

Louis (King

of France), St.

Louis of Toulouse,

Each

Elizabeth of Hungary, and St. Claire.

St.

of St,

life-size figures

is

standing under a painted niche of the Campanile-

The

Gothic architecture.

most

interesting,

and

although

much

and the

"St. Louis of France"

work

the

finest figure of the series

considerably repainted,

of Giotto's

is

it

still

untouched, especially in

left

the head and hexagonal

has

pointed crown.

It is

most dignified and serious rendering of the

saintly

and easy pose.

Osiris-

king, as

he stands

in a firm

like, with his kingly attributes of sceptre

and whip

of authority In either hand.

The

three small frescos by Giotto, painted on

the walls of the cloisters. In the Church of Santa

Maria Novella,
"

at Florence.

Meeting of Joachim and Anna

Two

of these, the

at the

Golden Gate,"

and the "Birth of the Virgin," are on the recessed wall,

on either side of the tomb of the Marchessa
Rldolfi,

and on the

right of these

two

will

be found

the third, the " Presentation of the Virgin

Temple."

feet in

circle.

It

at

the

These small frescos measure each about

width, and are shaped like quarters of a

From

the technical point of view, the " Meet-

ing of Joachim and

as

Strozzl-

Anna "

is

the most interesting,

has suffered least of the three from repainting,

and there are some fine passages of beautiful, though

faded colour, and of frank and decisive brushwork,
which Is decidedly characteristic of the hand of

Plwto. Alhtari.]

{To /ace p.

Plate

13.

Giotto,

St. Louis,

King of France

BardiChapil, Sta. Croce, Florence

42.

[To /ace p.

Photo. Alinari.]

Plate

14.

Meeting of

SS.

Joachim and Anna at the Golden Gate

Giotto, Cloisters

of Sta. Maria Novella, Florence

43.

FRESCO PAINTING
Joachim

Giotto.
folds of

clothed

is

in

48

red drapery, the

which are very naturally arranged, and the

technique of the painting of this garment reveals the

and sure touch of the master. There is no

hesitation in the execution of the brush-drawn folds,
swift

the colour

is laid

on thinly and transparently, so that

the effect of the light ground

the superimposed

as far as one can

in getting a

so

we may

make

out,

safely

very thinly, and so aimed

come

effect,

when
look heavy and solid we

to the conclusion that

sure that those parts have been repainted

by some one

St.

else.

the figure next, on the

The

apparent through

luminous and almost transparent

certain parts of his frescos

may be

is still

Giotto painted his frescos,

tints.

delightful

little

Anna

has blue drapery, and

left,

has an orange cloak.

angel, repainted however,

is

a yellow golden colour, and the sky has been

painted in a rather too dark blue colour
likely that the latter

it is

has been originally much

of
re-

quite

lighter,

and the angel deeper and warmer in tone. The architecture of the Golden Gate and the adjacent buildings, behind the figures, is painted in creamy white
and pinkish tints. The two figures of the passing
men with game are coloured in greys and pale reds,
and afford good examples of the early Italian cosThe landscape of the background is very
tume.
much faded to a neutral grey it may have been
;

clothed with flowers by Giotto, but the

vegetation which are

little tufts

now sprinkled over

are evidently recent additions.

of

the hillside

FRESCO PAINTING

44
I

that
(i

we wish

some of the best works in fresco

have been executed by Beato Fra AngeHca
to see

we must visit his old monastery of St.

Museum of St. Mark's, in Florence,

387-1455),

Mark's,

now

the

and the best of

are the series of the small frescos

all

painted by him between

walls of the

1436 and

formerly occupied by the

cells,

of this old monastery.

measuring about six

monks

In fourteen of the cells will

be found the small frescos, one

width.

^^ ^^^

1445,

in

feet in height,

The remaining

cells

each

each

cell,

by about four

in

contain frescos painted

by Fra Angelico's brother, Fra Benedetto, and the

others by his pupils or assistants.

very inferior

in

The

latter are

design and workmanship to those of

the first-mentioned series.

In the

first cell

on the

the Sepulchre, where

dalen," the design

good.

The

left is

" Christ

painted the scene at

appears to the

robe on the figure of Christ

linen-white tone, with umberish shades

Magdalen

is

Mag-

and colour of which are extremely

of a

that of the

of a yellowish pink colour

is

the hurdle

fence which runs across the background of the picture

is

of a golden straw colour

foliage are chiefly in tints of

trees, flowers

and

broken greens, and the

rock work and entrance doorway to the tomb are in

In the fresco of the second

cool greys.
"

cell,

the

Deposition of Christ in the Sepulchre," the com-

posing lines of the draperies and of the rocks flow

harmoniously
figures are

into,

and

also out of each other, the

so arranged

as to

form a decorative

[To face p.

Pilot o. Altnari.]

Tlate

15.

Fra

Christ Appearing to Mary Magdalene

Angelica, Monastery 0/ Si.

Mark, Florence

44.

FRESCO PAINTING

45

same time the intense

pattern-like effect, at the

vour and piety of the subject

is

well expressed.

fer-

The

figure of the female saint at the feet of Christ has a

red dress, the remainder of the lower figures have

purple garments, and St. Dominic has the black and

The

white dress of his order.

painted

in

the eighth

cell,

" Resurrection,"

has a colour arrangement

of pale purples, greens, white, and dark blue, which

is

very harmonious.

The

in

the last or inner

on the right, the " Adoration

cell

colouring of the fresco

of the Magi," though somewhat faded,

beautiful

The

prevail.

peach and plum, and golden

colour schemes of the frescos

in the other cells, that

have been painted by Fra

Angelico, are similar to those of the

of the

very

the Virgin has a blue dress, and for the

rest of the colouring,

tints

is still

first

and second

with the exception of the tenth, which

series,

has the entire background of the subject, the Presentation in the Temple, painted in a broken Venetian

which can hardly have been the

red colour,

original colour.

The

execution or technique of these small frescos

by Angelico

exceedingly firm and direct

is

frankly painted, without

touch

indeed,

find a

in

they are

any apparent hesitation of

these paintings the student will

more masterly freedom

in

the workmanship

than in the case of the laboured and miniature-like

paintings of the
pictures of this
tho.se

of the

more popular altar-pieces and easel

master.
These remarks apply to

cell

frescos,

which are the authentic

;;

FRESCO PAINTING

46

work of this master and under this head would

come more particularly the first, the third (the
;

" Annunciation

ninth
"

sixth

"),

Coronation

("

" Transfiguration "),

(the

of

Virgin

the

and

"),

the

Adoration of the Magi," on the wall of an inner

cell.

Two

better-known works of Angelico

" Annunciation,"

the

are,

on the wall of the upper corridor,

facing the staircase, and his larger work, the lunette

of

the " Crucifixion

The

monastery.

"

in the

chapter-house of this

fresco of the "Annunciation," which

has been considerably repainted,

composition, but very effective

though now

is

something

still

reminiscent of Angelico's colour arrangements.

Virgin's dress

is

is

a pinkish dove-colour

and flowers are

in

a light stone-colour

behind

warm

The

the grass,

grey greens and white

architecture,
is

The

dark blue, with olive-green lining

the angel's dress

foliage,

in

and the colouring,

and opaque, has

dull

very simple

and the paling

grey.

great work of the " Crucifixion" in the chapter-

house

is

much

repainted.

in a fairly

sound condition, but

The

it

has been

colour treatment of the back-

somewhat unusual, as it is marked out in

three distinct and sharply divided bands of colour

ground

is

the upper portion being of a dark purplish red (the

original

colour

may have been

central horizontal

lower, or

ground

band of a

light

a dark blue), the

vellum

tint,

and the

colour, of a golden yellow.

The

painting of the figures in their present condition

is

Photo. AlinarL\

\To face p.

Plate i6. The Deposition

Fra

in

the Sepulchre

Angelica, Monastery of St. Marff

46.

\To/acep.

Photo. Alinari.\

Plate
I-'ra

17.

Detail of The Crucifixion

Angelko, Monastery of St. Mark, Florence

47.

FRESCO PAINTING
most

careful in execution

Dominican

the

47

those on the right

half,

and brothers, and other

fathers

founders of religious orders, are in the dark grey,

and brown dresses of their orders, the balance

white,

of colour on this side being obtained by the bright

red of the Cardinal's

and of a book-cover,

hat

and the golden-coloured nimbi of the figures.

warmer scheme of colour is noticed on the
half of the
painting, where golden tints,
reds,

Cross

garment

The

the flesh tints

on the

tints,

The

general effect of the

very pure and luminous.

is

After Giotto,
influence

soft

and has a white

of the thieves on either side

being darker in tone.

colouring

figure of Christ

very pale flesh

in

is

left

and grey complete an

grey greens, white,

excellent harmony.

we may

most apparent

is

Florentine painter,

whose
was the

say, that the artist

in

Italian art

Masaccio (1401-1428?).

His

most important works are the frescos he painted

in

the

Brancacci

Maria del Carmine,

of Masaccio

is

da Panicale

(i

frescos

in

to Vasari,

Chapel of the Church

at

Florence.

The

of

S.

instructor

supposed to have been Masolino

384-1435),

who

first

painted

some

the above chapel, and who, according

was commissioned

to decorate the chapel

with scenes from the history of St. Peter, some of

which he had executed, but they are no longer

existence, unless

we

place to his credit the "

in

Adam

and Eve " fresco n the right wall, although some

writers have ascribed this work to Filippino Lippi

FRESCO PAINTING

48
1

460- 1 505), the son of the painter Filippo Lippi, and

a scholar of

Botticelli.

There are

but those which

that

very few works

really

by Masaccio,

are in existence clearly prove

still

he was far

left

advance of any

in

time in his complete mastery of the

artist

of his

human

figure,

as shown by his searching and accurate draughts-

manship, his great knowledge of anatomy, and his

giving

in

facility

spirit,

directions place

him

and

action,

His

compositions.

decorative

to his

vitality

gifts

these

in

head of the greatest

at the

His

artists of the early half of the fifteenth century.

achievements are
believe, as

it is

all

the

wonderful

if

we

said, that he died at the early age of

some

twenty-six, though

reached

more

the

authorities state that he

age of forty-one years.

The

finest

work from his hand is

The
Tribute Money," which he painted on the left wall
of the Brancacci Chapel, and this work still remains
as a monument to his great powers.
This work is
the fresco of "

authentic

a picture which includes three scenes

position

namely, (i)

The

central

Christ rebukes St. Peter, around

com-

in its

group,

where

whom are the stand-

ing figures of the apostles, with varied expressions of

indignation

the

figure

view, in this group

is

in

the foreground, back

that of the tax-collector,

and

the last figure of this central group, on the right,

a portrait of Masaccio.

(2)

middle distance, represents

money

in the

body of the

The
St.

fish,

scene on the

is

left,

Peter finding the

and

(3) that

on the

FT?!fc

H
>

eu
ir-v :^;ni ui

.%^
-'
'

-^ratified
ite

tile

nglu

r*i.enc^

pose and action, and there

expression in his face as he

money.

V landscape of the

The

natural treatment

background

is

also

V.i

i^

%
3

<

FRESCO PAINTING
right

The

collector.

money

Peter giving the

St.

is

figures are

49
to the

tax-

admirably drawn, and

all

painted with great breadth of treatment

back view of the tax-collector

is

that of the

more

especially a

remarkable example of accurate drawing and of easy

freedom
but

in the

front view, represented

in

The same

pose and action.

person,

the right scene,

in

has a similar freedom of pose and action, and there

is

an intensely gratified expression

receives the tribute

The

money.

natural treatment

of the hilly landscape of the background

in

he

in his face as

is

also far

advance of the landscape-painting of Masaccio's

time.

On

the altar wall there

painter,
is

is

though now

in

another fresco by this

is

a very bad state

" St. Peter baptizing," where,

the subject

among other figures,

benumbed and

the celebrated nude figure of a

drawn, and so

shivering youth, a figure so well

correct

in

anatomy,

made an epoch
Another very
is

that,

as

Lanzi says, "

it

has

in the history of art."

fine

and authentic work by Masaccio

the " Expulsion from Paradise," painted on the

wall

of the

chapel,

where

Adam

and Eve are

represented as being driven from the gates of

by the angel with the flaming sword.

in this intensely

borrowed, with

used

in

left

The

Eden

figures

dramatic composition have been

little

by

alteration,

one of the Loggia

frescos,

Raffaelle,

and

and he has also

adapted some other figures from the paintings

this chapel for the cartoons,

and

in

in

his frescos of

FRESCO PAINTING

50

the Stanze of the Vatican

many
"little

and yet

whom

he, to

others were indebted, was, as Vasari

esteemed

in

was

It

life."

us,

after his death

was discovered

that his real greatness

tells

so

do we

for

not read that the great artists of Italy and other

countries

came

truly

honoured

in

the Brancacci Chapel of

art,

the Carmelite Church, and

was

work of Masaccio

to study the

that veritable school of

it

was only then

that he

Filippino Lippi founded his

on the work of Masaccio, and Ghirlandajo,

Verocchio,
Leonardo,
Perugino, Raffaelle, and
style

Michael Angelo acknowledged his greatness and

learned of him.

This painter who was,

other great men, so

little

esteemed

his death, this epitaph written

" I painted, and

my

in

life,

like

had, after

on him

picture was as

life

and movement to my forms I gave

He who taught
I gave them soul and being.
All others
Michael Angelo I taught:
Spirit

He

deigned to learn of

me

."

many

CHAPTER

VII

FRESCO PAINTINGS BY GOZZOLI AND PERUGINO

Benozzo Gozzoli (1420-97), the most celebrated

Fra Angelico, is seen at his best in his

pupil of

great

decorative

walls of a

room

which

frescos
in

the

adorn the

four

Riccardi Palace in Flor-

This room, which had formerly been the

ence.

Chapel of the Medici, has

painted

over with

its

completely

walls

the processional

subject,

the

"Journey of the Magi," by Gozzoli, when he was

about forty years
the best,

The

old.

It is

best, if not

preserved fresco paintings in Florence.

colouring

is

very rich and

tones, as in the case of all

has remained uninjured.

is

one of the

warm

Gozzoli's

in

glowing

work which

The extremely

rich effect

considerably heightened by the free use of gold on

the embroideries of the principal figures, and on the

horse-trappings.

The work

many portraits
time, among which

contains

of the principal people of the

Cosimo de Medici,
Magnificent, and that of the artist

are

those of

kings,

in

Lorenzo
himself.

the

The

sumptuous apparel, are represented on

horseback, attended by lords, squires, retainers and

51

FRESCO PAINTING

52
servants,

all

and with much solem-

travelling slowly

through a beautiful country.

nity,

occupies the

left wall,

hunting party

looking towards the window,

where some leopards and hawks, used for hunting,

drawn and painted. On the recessed

are admirably

wall surrounding the

is

Paradise, or the

many

window
Garden

the scene represented

of Heaven,

which

in

angels are in prayer, and others soaring in

The

the clouds.

fine

condition of these

frescos

presents a great contrast to the decayed and almost

obliterated paintings

Campo Santa

of the

walls

at

far to seek.

walls of the

open

true that

and

Campo Santa have

in

as

veritable

frescos

history

Noah
mon.

when

in the

in

always been exposed

tempera,

case of

the

of the

or

is

from

fresco-secco,

Riccardi frescos,

The Campo Santa

or buon-fresco.

by Gozzoli

to the

not

but the real cause of the disintegra-

being painted
not,

is

the paintings on the

all

tion of the Gozzoli paintings in this place

their

little,

of the

but the cause of their decay

It is

air,

Very

Pisa.

now remains

except slight traces,

indeed,

latter paintings,

to the

executed by Gozzoli on the

represent

scenes

from

the

Old Testament, from the time of

visit to King Solo-

Queen of Sheba's

They were

painted between 1469 and 1485,

the artist was in the zenith of his powers, and

from what remains of them we can

easily

imagine

of any works executed

them to have been the finest

by this great nature-loving artist. An Italian artist
who was engaged in repairing the more decayed

<

FRESCO PAINTING

53

Campo

portions of Gozzoli's wall paintings in the

Santa, in the
nearly

that

summer

remaining colours on these

the

all

paintings were in a

of 1908, informed the writer

powdery

state

on the surface of

and could easily be dusted off. This

rarely happens in the case of paintings which have
been executed in buon or veritable fresco, and there
is doubt that the chief cause of decay and of the
the wall,

faded appearance of
is

due

many

of the old Italian frescos

were either executed

to the fact that they

in

tempera, or in the fresco-secco method, or that they

were begun

buon-fresco and finished afterwards

in

with glazings and opaque touches of tempera colour.

Many

Simon Memmi's frescos in the Spanish

Chapel, in the Church of Santa Maria Novella at
of

Florence, were repainted or " restored

hundred years
stated that

after

his

some of the

death,

"

about one

and Ruskin has

restorer's over-painting has

since fallen away, revealing the very pure original

work underneath.
Pietro Vanucci, better

known

as Pietro Perugino

(1446- 1 524), was one of the most important

of the

Umbrian school of

faelle's early instructor.

in

painting,

He

and was Raf-

painted

many

frescos

Florence, where he lived and worked for about

fourteen years, and where he acquired

much

Florentine manner of design and painting.

his

artists

most

great

important works

fresco

standing

of

around

the
the

in

Florence

" Crucifixion,"
foot

of

the

of the

One
is

of

the

with

saints

cross,

which

FRESCO PAINTING

54
he painted

three compartments

in

the chapter-house

Maddalena

of

the

de' Pazzi,

in

on the wall of

Church of St. Maria

the Via Colona.
The

design and pose of the figures in this fresco are

very characteristic of Perugino's manner, which may-

be seen

in the

upcast and wistful expression of the

and devout attitudes of

eyes, the pose of the heads,

The

his standing figures.

heads from

this fresco,

illustrations of the

two

here given, are in the above

respects very typical of Perugino's

work

they also

admirably show his method of handling, as well as

The

the brush-marks of the fresco.

touches

liofht

beard and hair of the male head are later

in the

reinforcements, but with this exception, the whole

of the painting in these heads

is

the genuine work of Perugino.

Florence,

known

as the

ascribed to Perugino
old convent

This
Sistine

di Foligno," is

in the refectory of the

is

Chapel of the Vatican,

in existence,

still

It is

the "

Via Faenza.

at

Rome, some of

namely, the "Baptism

Delivery of the Keys to

St.

recorded that he had also painted a

on the wall

chapel, but that

way

Cenacolo

fresco in

painted some important frescos in the

of Christ," and
Peter."

it

Another

of St. Onofrio, in the

artist

which are

fresco

"

quite likely to be

it

at the

back of the

was destroyed

in

altar

in

order to

make

for Michael Angelo's " Last Judgment."

those palmy days of great artistic activity

evident that some

difficulty

was experienced

this

it

In

was

in find-

ing sufficient wall space on which the painters of

\,To/acep, 54-

Plwto. A/man',]

Plate 21. St. Benedict, from The Crucifixion

Perugiiio,

Church of Sta. Maria Maddalena

de'

Pazzi

Photo. Aliuari.\

[To/acefi.

Plate 22. St. John, from The Crucifixion.

Perugino, Church of S(a,

Maria Ma^iiiaUna de

Fas^ii

53.

FRESCO PAINTING
that time might

when,

sions,

destroyed to
If

we

the

we see,
make room

as

to

for

still

greater works.

spacious days of art with

own time and

in

our

own

country,

are acres of blank spaces

find there

walls

masterpieces had to be

it

food for some reflection of a mournful

affords us

kind

execute their numerous commis-

contrast those

those of our

55

of our

churches and public

and capable enough

artists in

our midst

on

buildings,

who might

be employed to decorate these barren spaces,

but

nobody, or no Government, public-spirited enough

to entrust

modern

such works.

artists

with commissions to execute

CHAPTER

VIII

THE WORK OF PINTURICCHIO AND GHIRLANDAJO

Bernardino Pinturicchio of Perugia ( 1 454- 1 5 1 3)
was an excellent painter in fresco, although Vasari,
in his Lives of the Painters, has done scant justice
to his great merits.

work

that has been

much

In the face of

done by

splendid

Pinturicchio, the

appreciation of his merits by Vasari

is

want of

quite inex-

plicable.

Any one who

examined

his frescos in the Borgia apartments of

has

and

seen,

carefully

the Vatican must acknowledge him as one of the

greatest decorative artists of his time, greater, for

example because
his contemporary,

who

borated, and

was done by

less conventional,

with

whom

than Perugino,

he sometimes

colla-

Pinturicchio.

work which
To compare his work

we

should say that in the

often got credit for

with that of Perugino

design and colouring of the former

artist

there

is

more spontaneity, and much less manIn

nerism than is seen in the work of Perugino.
design his wall decorations are characterized by great
variety and plenitude of incident, and although he

more

life,

may appear

at times to

aim
56

at the expression of too

\To /ace p.

Photo. Alinari.^

Platk

23.

Detail from Christ's Charge to Peter

Perugino, Sistine ChaJ>el

56.

FRESCO PAINTING
much

57

individuality in the figures of his groups, the

outcome perhaps of
masterly

way he

his great versatility, yet in

invariably succeeds in uniting the

various and contrasting elements of his work into

one harmonious arrangement, the unity being largely

assisted

by the judicious disposition of

which, generally speaking,

is

his colour,

a harmony of azure and

Pinturicchio has been adversely criticised for

gold.

undue prominence

his practice of giving

to

some of

the mouldings and other salient points of the painted

architecture

his

in

and the patterns of

frescos,

embroidery on the dresses of

ling

them

in

low

relief

his figures,

and afterwards gilding them,

the objection being that such a practice

function of painting
artist

may be

by model-

that

may

is

not the

an

be, but surely

allowed to treat his subject

own

in his

way, by using any means to produce the desired end

he

may have

produce a

view, especially

beautiful

surroundings.

enough, but

in

work

Artistic

in

heresies

if

that

end

to

is

harmony with

may be

its

illogical

matters very

little if

the result

production of beauty, for do

we not

often see that

some

it

dreadfully

people

logical

is

only succeed

in

producing the ugliness of the commonplace however

careful they

may be

in the

due observance of

artistic

laws?
In the vaulted ceiling panels and on the groined
ribs of the vaults in the

Borgia apartments there

is

a good deal of stucco relief modelling of ornament

and animal forms by Giovanni da Udine and Perina

FRESCO PAINTING

58

del Vaga, this relief decoration being coloured

cameo

gilded, similar to the

and

the loggia of

reliefs in

the Vatican, which the two last-named artists had

;

and as Pintu-

in all probability

painted before

executed under Raffaelle's direction

ricchio's frescos

were

the date of the ceiling decorations,

is

it

not at

all

unlikely that the relief

work on the

underneath suggested

a great measure a similar

in

enrichment of the vaulted ribs and

wall frescos

In any

ceilings.

case the whole of the decorations on both walls and

ceilings of the

Borgia apartments are

in

singular

harmony and unity, although the work has been

done by different hands.
Pinturicchio was employed by the Pope, Alexander
VI, to decorate the Borgia apartments

accordingly,

the frescos of the second, third, and fourth rooms

were
life

painted

by

of Christ, the

him,
lives

with
of the

scenes

The most

background of which
of Constantine.

finely

Catherine of Alexandria

Emperor Maximianus,
is

This

of the third room.

The

painted on the back wall

figure of St. Catherine

a portrait of Lucretia Borgia.

the best

in the

a representation of the Arch

is

designed and painted, and

Among

and sciences

important and largest fresco

has the subject of St.

disputing before the

the

Saints, and with

allegorical representations of the arts

respectively.

from

work of

is

supposed

(See

to

is

be

illustrations.)

Pinturicchio are his frescos

chapel to the right in the Church of

in

the

S.

Maria Araceli, Rome, representing scenes from

first

Photo. Anderson.]

\_To

fcuep.

58.

Plate 25. Portrait of Lucrezia Borgia. St. Catherine

Disputing before the Emperor.
Detail of Fresco
Pinturicchio, Borgia Appartmtnts, Vatican

\To/acep.

Plate

26.

The Nativity

Piniuricchio, Church of Sta.

Maria

del PoJ)olo,

Rome

59.

"

FRESCO PAINTING
the

life

roof

is

59

of St. Bernard of Siena, and on the vaulted

painted the four Evangelists,

of which

all

are very vigorous and lifelike representations

the

same may

also be said of his frescos in the Baglioni

Chapel

the

in

Duomo

in the Sistine Chapel, "

and

His two frescos

at Spello.

Moses journeying to Egypt

the " Baptism of Christ," were formerly ascribed

to Perugino.

The
(

Florentine

Domenico

artist,

Ghirlandajo

449-1498), was one of the most eminent fresco

painters of his time.

He

sumptuously dressed

personages

many

of

whom

of his day.

was fond of introducing

many

paint

He

works,

were representations of the people

The

powerful Tornabuoni family of

Florence were his patrons,

to

his

into

who commissioned him

frescos in Florence

and

in

Rome.

can claim the distinction of having Michael

Angelo as one of

Some

his pupils.

of his best existing works are those in the

choir of the Church of Santa Maria Novella,

Church of

the

St.

Trinita

at

Church of Santa Maria degli

Foundling Hospital at Florence,
altar-piece,

the "
its

Florence.

In

the

Innocenti,

in

the

is

a well-preserved

a tempera painting on panel by him,

Adoration of the Magi," which

design,

and

and the colouring

is

is

dignified in

brilliant in reds

and

golden hues, these colours being very characteristic

of his later works.

work
the

is

hill

In the background of this fine

a beautiful landscape, and at the foot of

on the

left

is

the scene representing

the

FRESCO PAINTING

60

slaughter of the

kneeling king

is

The drapery

Innocents.

masterly in the design of

of the

its folds,

but the standing figure of the youthful king on the

the most beautiful of the larger figures.

left is
all

the range of Italian art

match

for

beauty and

bottom of the

picture,

every way they

who

to

difficult

two

are kneeling at the

adoring and adorable, as

At

are.

would be

for types of innocence the

babes, or innocenti,

little

it

In

in

the top, kneeling on clouds

above the manger, are four lovely angels holding a

scroll,

on which

is

written, " Gloria in excelsis

Deo."

Generally speaking, his frescos are remarkable for

their high degree of careful finish,

and nearly

all

of

the spectators or accessory figures in his paintings

are

portraits

of his

patrons and

contemporaries.

His compositions are very simple and

dignified,

with a certain degree of solemn severity

drawing

of

characteristic

many

the

The

latter

partly due to his practice of

making

the
is

in

principal

figures.

of his figures stately portraits,

and partly to

the long and straight folds of his draperies, which

remind us of Masaccio's work, and,

degree, that of Giotto.

and note the

It is

in

lesser

interesting to

compose

which

apparent

similarity of design

is

in his fresco, the " Calling of

SS. Peter and Andrew,"

in the Sistine Chapel, with the " Tribute Money,"
by Masaccio, in the Brancacci Chapel of the Carmelite

Church
the "

at

Florence

and

also his celebrated

Death of St. Francis," in St. Trinita at

Florence, with the same subject painted by Giotto

work,

Photo. Alinari.l

[To /ace p.

Plate 27. Florentine Lady.

Detail of Fresco, Birth of

Ghirlandafo, Church of Sta.

Maria

Novella, Florence

St.

John

60.

7.

<

at

i?

H
C/J

r
Fv,

o
X
H

v;

^
-5f

FRESCO PAINTING
in the Bardi

Chapel of Santa Croce.

work we see

61
In the latter

and sentiment more

piety

strongly-

expressed by Giotto, while portraiture and light and

shade are more

in

in Ghirlandajo's render-

evidence

ing of this subject, but the figure composition in

both works

The

almost identical.

is

by Ghirlandajo

frescos

the choir of the

in

Church of Santa Maria Novella are among the most

important of his works, and remain as fine examples
of his

from the
all

The

as a great decorator.

skill

life

of the Virgin and John the Baptist,

of which are treated with great care and elabora-

tion of rich detail, the

utmost

finish

accorded to the principal actors

also

the

to

and

panels

on

patterns

accessories,

expressed

of

friezes

the
in

and

other

colouring

is

and

style

in

admirably

are

works.

San Marco

in Florence, in

an interesting fresco of the

" Cenacolo," or Last Supper,

little stiffness

decorative
of

beauties

in these characteristic

the smaller refectory,

but

embroidered

the

and

his

all

In the Monastery of

in the scenes,

figures,

dresses,

fact

being not only

backgrounds, with their

architectural

execution,

design,

is

subjects are

by Ghirlandajo.

There

formality^in the composition of

this work, but the heads of the principal figures are

lifelike

and

and well painted.

rich,

colouring

gold has been freely used

on the dresses of the

Above

The

figures,

and

in

[trees,

strong

the nimbi and

in the

the figures, in the background,

abundance of cypress, orange

is

background.

is

painted an

and flowers

62

FRESCO PAINTING

hawks are pursuing wild duck.

There is also a similar, l3(Ut in some ways a much
better, " Cenacolo " by Ghirlandajo in the refectory
in the convent of the Church of the Ognissanti at
while in the sky,

Florence.

'

[To /ace

Photo. Alinari.^

PtATE

29.

Florentine Lady.

Detail of Fresco, Birth of the Virgin

Ghirlandajo, Church of Sta.

Maria NavfUa, Fhrentt

p. 63.

Photo. A/tnari.]

{To /ace p.

Plate 30. Detail from Fresco, Birth of the Virgin

Qhirlandajo, Church of Sta.

Maria

Novella, Florence

63.

CHAPTER

IX

FRESCOS BY ANDREA DEL SARTO, LUINI,

FERRARI,

G.

RAFFAELLE AND MICHAEL ANGELO

In the anterior court of the Church of the Santissima Annunziata, in Florence, there are five

Andrea

well-preserved frescos by
1530).

by

In the

his pupils,

fairly-

del Sarto (1488-

same court there are others painted

and contemporary

The

artists.

best

Andrea is the " Death of St. Filippo,"

where a young man is raised to life by the dead
body of the saint. The colouring is very strong
and luminous, and has the soft melting character of
of the five by

the various tones into each other, which distinguishes

the

work of

this painter,

easel pictures.
this

series

is

wrought

by

children

are

The

The

more

next fresco in importance of

that which

the

robes

healed

especially seen in his

represents
of

effect of light

by touching

feature in the work.

frescos,

present

and shade

miracles

Filippo,

St.

colouring of this painting

and the

the

where

garments.

his

and

is

lively

is

a very important

The backgrounds

fresh,

of these

whether architectural or landscape, are at

exceedingly

light
63

in

tone,

which

either

FRESCO PAINTING

64

means

these parts have faded or have been

that

destroyed by cleaning.

This causes the figures to

look completely out of tone with the

pale

back-

grounds.

The Brera
ber of
that

Palace at Milan contains a great num-

and

small

have

extremely interesting

frescos,

been removed from various churches

and suppressed convents in the city and neighbourhood, among which are some very good examples
of Bernardino Luini's work (1470-1530 ?).
Luini
was the most famous scholar ot Leonardo da Vinci,

and was so greatly influenced by the latter that

many pictures had for a long time been ascribed to
He was a most prolific and industrious
his master.
artist, both in fresco and in easel pictures, and as a
rule his work is full of grace and charm.
The
female figures and children painted by Luini are
always characterized by their easy natural poses,

and have a

and sweetness of exHis colouring, always rich and warm in

pression.
tone, is chiefly distinguished by its freshness and
purity

frescos,

refined delicacy

these qualities are best seen in his smaller

now

in

corridor there

the Brera galleries.

is

brought from the Church of

Milan.

an

The

subject

angel and

is

St.

two other
this

Maria

di Brera, in

the "Virgin and Child," with

figures,

St. Barbara, and a boy with a

and drawing of

In the entrance

an example of his fresco work,

St.

lute.

Abate, and

The

colour

example are extremely good,

though the general composition

is

lacking in cohe-

Photo. ANnari.]

\To face J>.

Plate 31. Fresco, Infant Angel

Luini, Brera, Milan

64.

FRESCO PAINTING
and

sion

The

unity.

also in the Brera.

" Burial of St. Catherine "

It is

is

a small fresco brought from

the Convent della Felucca, and

successful

65

one of the more

is

Three

works of Luini.

finely

designed

angels are carrying the body of St. Catherine, below

which

The

the tomb.

is

robes of the saint are red

on the right are

in colour, while those of the angel

purple

the middle, green

The

has yellow drapery.

Luini

Sala

in the

XVI,

Brera

background

and

is

is

and the angel

to the left

best work, however, by

the beautiful fresco, in

is

of the " Virgin

and Child" with

St.

the

Martha,

work the landscape

remarkably fresh and pure in colour,

John, and a nun.

St.

In this

painted in a very naturalistic manner, the

treatment of the trees, and details of the landscape

reminding one forcibly of a picture by Constable.

There are some

passages of luminous and

fine

harmonious colouring

in

the draperies, the faces of

the figures have a tenderness and purity of expression,

and the whole work

is

Being on a

of the master at his best.

the eye, and in a good
in this fresco that

light,

Luini's

and afterwards

one

is

level with

enabled to see

method of painting con-

sisted in his first modelling

impasto,

a convincing example

the forms in a solid

finishing

his

work,

like

the majority of Italian fresco painters, by shading

transparently in finely hatched lines.

There are other examples of

Luini's fresco

in the Brera, consisting chiefly of

of boys.

In the old

work

heads and figures

Romanesque

basilica church

FRESCO PAINTING

66

Ambrogio

of St.

a fresco by him, the " Ecce

left aisle, is

fairly

at Milan, in the first chapel of the

good

state of preservation,

chapel of the right aisle

St.

same

St.

Maria

in

in the sixth

his work, the "

The Church of

George."

in the

is

Homo,"

and

Legend of

della Grazie

city contains his fresco of the

"Virgin

Enthroned," with saints around, the colour and composition of which are good, but an injurious dusty

bloom has appeared on some portions of this fine

work. Numerous examples of Luini's fresco decorations

may be

seen in the Church of

Maurizo

St.

(Monastero Maggiore), including the large " Crucifixion,"

on the wall over the entrance

This great work contains nearly 140

from Milan,

many

Church of the Santuario there

in the

some very important

are also

figures,

At Saronno, not

of which are of singular beauty.

far

to the choir.

frescos

by Luini,

representing scenes in the history of the Virgin,

the best of which

is

a very fine " Adoration of the

Magi."

(1484-1549) was another

Milanese painter, though a native of Piedmont, but

Gaudenzio

Milan and

its

Ferrari

neighbourhood was

the centre of his labours.

Leonardo da
Peruginc,

He

Vinci, although he

and

later

with

strictly

speaking

was a follower of
had worked with

Raffaelle.

He

painted

numerous frescos in Milan, Saronno, and Varallo

most of them are characterized by life and animation

of pose in the figures, and as a rule his works
contain

many

figures of great merit

and beauty,

'"VVW-c^

Plate 33. St. Lucy Sentenced to Death

Jacopo D'Avanzo, Church o/St. Anthony, Padua

[To/ace p,

66.

FRESCO PAINTING
showing
But

fine qualities of

work

his

freedom

as a whole

is

67

in the execution.

unequal, owing to his

tendency of allo\Ying himself to be influenced by

that of his contemporaries.

The

best of his frescos

are those which are most Luinesque in style and

character.

In the side entrance of the right

Church of

Ambrogio,

St.

Milan,

in

in

the

Ferrari

has

aisle,

painted the frescos, " Christ bearing the Cross," and

the

"Three Marys";

much,
under

is

in

a good state of preservation, and

glass.

Santuario,

the latter, though darkened

At Saronno,

in

is

now

the Church of the

he has decorated the cupola with an

assemblage of angels and winged boys, some of

which are designed with great

spirit,

and are beauti-

Later work by Ferrari

fully painted.

is

the fresco

decoration of the fourth chapel in the right aisle of

St.

Maria

delle Grazie (1542), where he painted the

powerful compositions of the Passion, namely, the

**

Crucifixion,"

'.'

Christ

life-size,

the

" Scourging

of

Christ,"

and

The figures are

by much animation,

Crowned with Thorns."

and are characterized

strong colouring, and great freedom of execution.

The works
fresco

of Raffaelle and Michael

which

painting

Angelo

in

adorn the Stanze of the

Vatican and the Sistine Chapel, respectively, have

been so much described, and are so well known to

students, that

any

criticism

which might be offered

here would amount to an unstinted appreciation of

their labours.

It

goes without saying that

it

is

IJI

FRESCO PAINTING

68

very serious thing for the sake of Italian Art that

so

much

either

has in

work of these masters has

gone very dark and dirty, or, what is worse,
places almost perished by the disintegration
of the finest

The

of the colours.

Athens,"
best

in the

work

large fresco of the " School of

Stanze of the Vatican, probably the

in fresco

from the hand of Raffaelle,

is

now quite different from what it must have been

when first it was painted. The composition of the
and some portions of the orginal colours still
remain, but all else must be entirely changed.
Even where the original colour is still on the wall,

figures

such parts are extremely blackened by age and

dirt,

but the architectural background, the central

and

the

between the figures

are,

flight

of

steps,

lighter in tone than they

and consequently

all

around and

foreground

on the contrary, much

must have been

originally,

the shade and shadows, which

formerly connected the masses of the figure groups

together, have disappeared.

The

present extreme

lightness of tone which surrounds the dark figures,

unduly emphasizes the

factory

latter,

and gives an

and very spotty appearance

composition, which

is

at variance

to the general

with

engravings and copies of this fresco.

the early
It is

likely that the present aspect of this great

due

to

the

engaged on
their

fact
it

that

the

unsatis-

cleaners

work

is

and restorers

from time to time have employed

cleansing energy

on the background more

than on the figures, and have cleaned off the

quite

dirt,

^-*

FRESCO PAINTING
and paint as

69

well, so leaving this portion in

looking or light state

and

if

we bear

the background work has in

a clean-

mind

in

that

probability been

all

much more thinly, or with less impasto,

than the figures, we can easily imagine that in the

painted

parts under notice there has always been less

body

of colour to be destroyed by the cleaners.

It

also noticeable that

been used

is

where a blue or grey colour has

in the draperies,

has badly perished,

the painting of such parts

which suggests that either a

vegetable or a copper-blue pigment has been used,

of a

instead

cobalt

or

an

ultramarine

blue,

or

that these parts have been afterwards repainted in

The

tempera.
"

Mount

other

frescos

this

in

room,

the

Parnassus," and the " Prudence, Fortitude

and Temperance," are

in a

much

better state than

the " School of Athens."

Michael Angelo's great work

in fresco,

on the

is still, fortunately, in a
but the " Last Judgment," on the

ceiling of the Sistine Chapel,

fairly

good

altar wall,
state.

state,
is

very grimy, and

One cannot

in

much blackened

help thinking that a good deal

of the dirt could be removed from this work by a

little

judicious cleaning.

THE END

INDEX
Andrea del Sarto,

Ghirlandajo, Domenico, 59-61

63-64

Giotto, 39-43
Giovanni da Udine, 57-58

Architecture, i
Architecture, principles of, 6
Arts of Peace fresco, 34
Arts of War fresco, 33-34

Gloucester Cathedral, 31

Houses of Parliament
Croce,
Chapel,
Santa
Florence, 39-40
Benozzo Gozzoli, 51-53
Borgia apartments, Vatican, 56-58
Chapel,
Carmelite
Brancacci

frescos,

30

Bardi

Church, 47-49
Brera Palace, Milan, frescos
64-65
Brown, Ford Madox, 32
Brushes for fresco, 20
Buon-fresco, 9

at,

Campo

Santa, Pisa, 52
Cartoons, 16, 17, 24, 56
Cenacolo by Ghirlandajo, 61-62
Cnossus, 10
Colour sketches, 16, 36
Colours for buon-fresco, 17-19

Intonaco, 15

Keim's process, 9
Last Judgment fresco, 68
Leighton, Lord, 32-33
Luini, Bernardino, 64-66

Lyndhurst Church

fresco, 32

Masaccio, 47-49
Masolino da Panicale, 47

Method

execution in buon23
Method of execution in spirit
fresco, 36-37
Michael Angelo, 38, 50, 54, 68
of

fresco,

Monastery of

Mark

St.

frescos,

44-46, 61

Design

in

objects

of

utility, 5

general
,

Drapery painting, 28-29

Monumental

painting, essentials

of,

4
Mosaics, 3

Mycene, 10
Egyptian tempera, 1
Encaustic painting, 9
Filippino Lippi, 47
Flesh painting, 25-27
Foundling Hospital, Florence, 59-

60
Fra Angelico, 44-46

Painting, 2
Parry, Gambier, 53
Perina del Vaga, 57-58
Perugino, 53-55
Pinturicchio, 56-58

Fresco-buono, 12

Pompeii, 1
Poynter, Sir E.
16,30

Fresco-secco, 8, 1
Fresco, systems and methods, 8

Raffaelle, 49, 67,

Gaudenzio

Retouching, 27
Riccardi palace,

Ferrari, 66-67

J.,

Bart., P.R.A.,

69
5

INDEX

72

Spanish Chapel, 53

Ruskin, 53

Santa Maria della Grazie, Milan,

66-67
Santa Maria Maddalena de Pazzi,
54

Santa Maria Novella, Florence,

39,61
Santissima Annunziata, Church
of the, 63
St. Ambrogio, Milan, 66-67
St.

St.

Spirit fresco, 31
Spirit fresco medium, 38
Spirit fresco painting, 9

Tempera painting, 9
Test brick for colour, 22
Thera, 10
Tiryns, 10

Undercoating, or ground

tint,

21

Catherine of Alexandria, 58

Maurizo Church (Monaster

Maggiore), 66
St. Stephen's, Dulwich, 71
Saronno, Church of the Santurario, 66-67
School of Athens fresco, 68

Simon Memmi, 53

Vasari, 40, 50, 56

Vatican, Loggia of the, 58
Victoria and Albert Museum, 33

Walls

for fresco paintings, 14,

Walls, preparation of,

Water-glass fresco, 9

Sistine Chapel, 38, 54, 59

Richard Clay &' Sons, Limited, London and Bungay.

14,

33
33-34

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