In an interesting notice, by Mr. Wilson, of the present state of the arts in Italy, read before the Society of Arts, in Scotland, in November, 1840, a few details are given of the skill with which the house-builder converts the commonest materials into tasteful decorations. The following is an abstract of that part of the notice which relates to the subject of the present volume:—
Notwithstanding the comparatively small employment afforded to Italian architects in the present day, yet there can be no question as to the skill displayed in erecting their designs. The masonry is excellent, and the ancient Roman brick-work is rivalled by that of the present generation; houses are built of brick, in which all the exterior decorations are moulded in that material as perfectly as if executed in stone. The skill with which the Italian workmen build in brick, may be exemplified by the Florentine practice of arching over rooms without centering of any description. Two thin moulds of board, the shape of the intended arch, alone are used: these are placed at each end of the apartment which it is intended to cover in, and pieces of string are stretched from the one to the other, guiding the workman as he advances in the formation of his arch, which he builds, uniting the bricks by their thin edges (greatly thinner than those we use), and trusting entirely to the tenacity and quick-setting of the cement.
Plastering is also carried to a perfection in Italy, of which we have very little idea in this country; rooms are so exquisitely finished, that no additional work in the shape of house-painting is required; but the polish of the plaster, and its evenness of tint, are such as to rival those of the finest porcelain. Sometimes the plaster is fluted, or various designs are executed in intaglio upon it, in the most beautiful manner. Scagliola, a very fine preparation from gypsum, is the material chiefly used. An instance of the cheap rate at which this work is done, is afforded in the new ball-room in the Palazzo Pitti grand-ducal residence at Florence, which, including mouldings, figures, bas-reliefs, and ornaments, was executed at a cost of two crowns for every four square feet.
A most beautiful art among the Italians, and one which might be advantageously introduced into this country, is that of making what are termed Venetian pavements. This method of finishing the floors of rooms is conducted in the following manner. In the first place a foundation is made of lime mixed with pozzolana, and small pieces of broken stone; this is, in fact, a sort of concrete, which must be well beaten and levelled. When this is perfectly dry, a fine paste, as it is termed by the Italians, must be made of lime, pozzolana, and sand; a yellow sand is used which tinges the mixture; this is carefully spread to a depth of one or two inches, according to circumstances. Over this is laid a layer of irregularly broken minute pieces of marble of different colours, and if it is wished these can be arranged in patterns. After the paste is completely covered with pieces of marble, men proceed to beat the floor with large and heavy tools made for the purpose; when the whole has been beaten into a compact mass, and the paste appears above the pieces of marble, it is left to harden. It is then rubbed smooth with fine-grained stones, and is finally brought to a high polish with emery powder, marble dust, and lastly, with boiled oil rubbed on with flannel. This makes a durable and very beautiful floor, which in this country would be well adapted for halls, conservatories, and other buildings.
The carpentry of the Italians, as observable in ordinary houses, displays little skill and indifferent workmanship, but in the roofs and floors of important buildings, they satisfactorily prove their knowledge of scientific principles, and several of their designs are well known to British architects.
With regard to the working of iron, in comparison with our system, the Italian is primitive indeed; yet at times he can and does produce very good specimens of workmanship, but at a heavy cost; consequently they are generally content with very ordinary productions. A manufactory of wire, and of driving and screw nails, by means of machinery, now occupies the villa of Mecænas at Tivoli; the articles produced are very well made. Copper is extensively used in Italy, and there are productive mines in the Maremma Toscana. The workmanship of articles made of this metal is respectable; various utensils are made of brass in a neat and satisfactory manner, but in the interior finishing of houses, if much nicety is required, articles of foreign manufacture are used.
House-painters may be mentioned in the last place, and these display much taste and skill; and there is a class of them who greatly excel those in this country, having more the feeling and taste of artists. Surrounded by the finest models in this art, the Italian decorator enjoys every advantage in its study, and he inherits besides from the best periods of art, or rather from antiquity, taste, and a good system of workmanship. He is not a mere machine, employed in the use of the moulds, stamps, and other mechanical contrivances, which too often keep the decorative arts within such narrow limits.
Fresco Painting.
The proposed introduction of Fresco Painting into our public buildings will, it is hoped and expected, have the effect of employing the artist in fresco upon the walls of our dwelling-houses. Already have a few of the mansions of our nobility been thus decorated, and in anticipation of its general introduction it may not be out of character with this little work to describe the process in detail.
Respecting the origin of the term fresco there are two opinions; according to some the term is said to have been adopted because the practice of it is used in the open air. Thus in the Italian language, andare al fresco signifies “to take the air;” or “to walk abroad in the air;” but a more probable explanation is to be found in another meaning of the word fresco, viz., “new,” or “fresh,” as applied to the state of the plaster in which it is wrought. The artist traces his design, colours it, and completely finishes in one day so much of his picture as will occupy the wet plaster ground that has been prepared for him, so that when the ground is dry, he may not retouch any part of his work. This is the characteristic distinction of painting in fresco—a method by which the painting is incorporated with the mortar, and drying along with it becomes extremely durable, and brightens in its tones and colours as it dries.