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The Art of Fresco Painting

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The Art of Fresco Painting THERT A OF FRESCO P AINTING. * BRIGHTON: P RINTED BI ARTHUR WALLIS, BARTHOLOMEWS, O PPOSITE THE TOWH HALL. N THERT A FRESCO P AINTING, AS P RACTISED By THE OLD I TALIAN AND SPANISH MASTERS, A P RELIMINARY INQUIRY THE N ATURE THE C OLOURS USED IN FRESCO PAINTING, WITH O BSERVATIONS AND NOTES. MRS. J MERRIFIELD, TRANSLATOR O F CENNINO CENNINI, "f O all kinds of painting, Fresco Painting is th« finest and mott masterly." Vasari.— P achkco. LONDON : P UBLISHED FOR THE AUTHOR, BY CHARLES G ILPIN, 5, BISHOPSGATE STREET ; AND ARTHUR WALLIS, BRIGHTON. MDCCCXLVI, "feeder~ J #<tix^ THE R IGHT HONOURABLE SIR R OBERT PEEL, Bart. M.P. ONEF O THE COMMISSIONERS ON THE FINE ARTS, THIS T REATISE HEON T ART OF FRESCO PAINTING, IS, B Y HIS PERMISSION, MOST R ESPECTFULLY DEDICATED BY HIS O BLIGED AND OBEDIENT SERVANT, MARY P HILADELPHIA MERRIFIELD. CONTENTS. PAGE. Introduction V Colours u sed in Fresco Painting xi Red C olours — Amatito. xiii Siaopia . x xix Blue C olours .. x xxiv Green C olours li Black C olours . l iii White, Y ellow, and Brown Colours .. l iii Concluding R emarks .. l iv THERT A OF FRESCO PAINTING. PART I . Of G uevara Directions a nd Observations of Vitruvius with the commentary of G uevara 2 Directions o f the Monk Theophilus 17 Of L eon Batista Alberti. 19 Directions a nd Observations of Leon Batista Alberti 19 Directions o f Cennino Cennini 24 Of V asari 27 Directions a nd Observations of Vasari 27 Of B orghini 33 Directions a nd Observations of Borghini £3 Of A rmenino 35 Directions a nd Observations of Armenino 33 Of A ndrea Pozzo 52 Directions a nd Observations of Andrea Pozzo .. 56 Of P acheco 61 Directions a nd Observations of Pacheco 62 Of P alomino 69 Directions a nd Observations of Palomino 70 Directions o f John Martin 87 Practicef o the Early Italian School 91 Of t he Painting 98 Of t he Colouring and Colours 105 Of t he use of Gold on Fresco 110 Instances o f the durability of external Frescoes 114 Causes o f the destruction of Frescoes 115 Of R etouching, Repairing, and Cleaning Frescoes 119 Of t he Repairs of the Gallery of the Carracci in the Palazzo Farnese, a nd of the Loggia of Raffaello at the Lungara 122 Index 19 2 INTRODUCTION. The r evival of the art of Fresco Painting in the nineteenth century, will be an epoch in the fine arts, and, will probably, be the means of forming a great school of painting in this country, and lead to the improvement of the sister arts of sculpture and architecture. The moment it was determined to decorate the new Houses of Parliament with fresco paintings, it became important to ascertain the mode adopted by the great masters of the Italian and Spanish schools. To accomplish this desirable object, it became necessary to recur to the old treatises on the subject, especially those written in the Italian and Spanish languages. This inquiry was fortunately undertaken by a gentleman fully competent to the task. The result was pre sented to the public in the valuable reports of the commissioners on the fine arts. The path of inquiry was well traced out in these reports, and the subject coinciding with my own pursuits and inclinations, I was induced to pursue the inquiry, from the persuasion, that the introduction of the art into this country, would be the means of founding a great English school of painting. Independent o f other considerations, there appear to me to be certain analogies between Italy, during the period the fine arts flourished in that country, and England at the present time, which strengthens this persuasion. The same wealth and splen dour of our nobles and merchants, the same commercial prosperity, and, above all, the same spirit of inquiry, which characterised Italy at the period I have mentioned, is applicable to England at the present moment. The advantage is on the side of England. IV I NTRODUCTION. Almost a ll the writers of eminence, mention fresco painting, as the highest branch of the art. The most competent judges have expressed opinions, that in comprehensiveness of subject, boldness of design, facility of execution, and in durability, it exceeds all other kinds of painting, especially for the decoration of temples, palaces, and great public buildings. It has been practised by men of the highest order of genius. It is only necessary to mention the names of the Carracci, Michael Angelo, Raphael, and Correggio, to shew how highly this branch of the art was formerly appreciated, even if the value set on the cartoons, the rough drafts of paintings in fresco, were not sufficient to establish its superiority. These considerations, added to the favorable reception of my translation of Cennino Cennini, on painting, encouraged me to follow the path of inquiry, traced out in the Reports of the Commissioners. By l ong discontinuance, the art had become almost entirely lost. The practice of painting on walls, in the manner described by Vitruvius, that is, partly in fresco, and partly in secco, appears to have been continued throughout the dark ages, by the Greeks, who instructed the Italians. According to Zanetti, the Greek style was taught by a Greek artist of Constantinople, who, about the year 1200, kept a school for painting, at Venice, to which many foreigners resorted for instruction, and from the same author we learn, that the Greek style was practised until the middle of the fourteenth century. The e arliest modern writer, whose work has been preserved, is Theophilus, a monk, who is supposed to have lived between the ninth and thirteenth centuries, but the exact period is unknown. He professes to teach "all the knowledge of the Greeks respecting colours." A manuscript, which I examined in the Bibliotheque Royale, at Paris, dated in 1431, contains a version in old French, of some parts of the work of Theophilus, which shews that his treatise had then become known. INTRODUCTION. V The f ollowing series comprise the principal authors, who have treated practically on fresco painting : — - T heophilus MS. between the years. .. 1000-1300. MS. in the Bibliotheque Royale 1431. - LeonC ennino Batista Alberti Cennini MS. (published in 1821.) . 1485.1437. Vasari 1 547. Guevara 1 550-1557. Borghini 1 584. Armenini 1 587. Cespedes 1 608. Pacheco 1 641. Pozzo 1 693-1702. Palomino 1 715-1724. Mengs 1 779. Commencing t herefore with Theophilus, the series of writers on fresco painting, embrace the periods of its commencement, progress, and decline. I believe there is no important practical point, which has not been explained by some one or other of the above series of authors, most of whom were also artists. The reader will be able to judge, by the extracts in this work, how perfectly the practical part of the art had been preserved and transmitted, by a succession of authors, treating expressly or incidentally on the subject. Between t he period when Cennino wrote his treatise, and the publication of the work of Vasari, the art had advanced rapidly. Leonardo da Vinci, Michael Angelo, Raphael, and Correggio had lived and died. The Sistine Chapel, the Vatican, and the Duomo of Parma, had been painted. The practice of fresco painting was changed in some important points ; Cartoons were prepared with the greatest care, the figures being drawn either from the life, or from models in clay, from which, when placed on the wall, the picture was traced, and correctness of outline secured. The old custom of painting much of the drapery in x vi I NTRODUCTION. secco w as discountenanced, and the perfection of fresco painting, as far as concerned the mechanical part of the art, was considered by the best writers on the subject, to consist in completing the picture at once in fresco, without retouching it in secco. The practice however of retouching in secco, was at no period wholly discontinued, except by a few very expert artists, formed chiefly in the school of the Carracci. In a w ork which contains translations from so many authors, repetitions will unavoidably occur; and, as every author has his own mode of expressing his ideas, variations will be found. There is however a concurrence, generally, among all the authors, which leads to the conclusion, that the practice, by contemporary artists, was nearly uniform. We m ust expect that the introduction of the art, will be opposed and condemned by many of those who love the arts, and to whom we are much indebted for their advancement, but who have grown grey in other practice. It were too much to expect otherwise. But the young artist may be assured that fresco painting will succeed, and be most extensively practised in this country. The commencement has been most auspicious. The patronage of government has been offered. The assistance of parliament has been obtained ; and with such encouragement and patronage, ability and genius will not be wanting. No opposition can now prevent its success. The die is cast; the path will be trodden. The art has been already revived, and practised with success, on the continent, especially in Germany. It has commenced in this country, and it may be safely pre dicted, that it will hereafter form the principal part of the decorations of our public edifices. The great, the wise, and the good, with the actions and works, for which they were most celebrated, will be appropriately represented in our public buildings and palaces, if not in our temples.
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