A Manual of Fresco and Encaustic Painting

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1843 edition. Excerpt: ...described is to be renewed, with a fresh intonaco to recommence; and upon [...]
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1843 edition. Excerpt: ...described is to be renewed, with a fresh intonaco to recommence; and upon revising the finished work, if some part should not come up to the artist's intention, he has the same remedy, but no other, --the objectionable part must be cut out, and a renewal of the first process, on which he must begin afresh; he should also take very great care to see that the portion cut out shall be bounded by definite lines, for it is obviously a matter of great importance, in fresco painting, to make a nice adjustment of the various portions of the work, so as that it shall present an entire unity of appearance when completely finished. SECTION VII. Previously to entering upon the subject of retouching with distemper when the fresco is dry, we shall lay before our readers the description of another process of 104 PASCIANO'S METHOD fresco painting of a recent date, from the pen of Professor Wilson, to whose zeal and intelligence the British public are justly indebted, and the author of this manual particularly so, for much very valuable information in every process connected with fresco painting. The professor says, "I lately went to the Royal Palace (Genoa) to see the Signor Pasciano paint a ceiling in fresco; his tints had all been prepared before my arrival, he had only two in pots; viz., pure lime, and a very pale flesh tint, he had no palette, but a table, the top of which was a large slate: on this slate he set out with the palette-knife, terra verte, smalt, vermilion, yellow ochre, Roman ochre, a dark brown ochre, Venetian red, umber, burnt umber, black. These colours were all pure, mixed only with water, and rather stiff--there might be from one to two ounces in each. He mixed each tint as he wanted it, adding to each some from the pot of...