The simplest way to paint drapery in fresco is to first outline the work, and also indicate the principal folds in outline, then prepare three shades of the general colour so that the darkest or shadow tint will not be so dark as the final darkest shade, nor the lightest so light as the finished lights are intended to be. Paint in the shades and shadows first, the middle tints or half-tones next, and always finish with painting the lights; each tint, of course, in the operation must be lightly or delicately modelled into its neighbouring tint. This will constitute the first painting, and when 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 prepared, and the darkest accents and depths of the folds are delicately expressed; and with a still lighter tint than the lights of the first painting, used in a fairly thick consistency, and with a full brush, the higher lights of the drapery are then painted in. The piece of work ought now to present the appearance of a monochrome study in light and shade, but it may be necessary to indicate reflected lights in some portions of the shadows, and the lights may want 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 tints should be put in their proper places after the second painting is done; and care should be taken to 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 slightly show through and modify these bright glazings to the required tones. It may be necessary to glaze over more than once in order to get the desired effects, but that will not matter, provided that the glazing is done with a light hand, so that the underpainting is not disturbed.
When painting foliage, flowers, fruit, ornament, or architecture, the same method of working will also apply, but the treatment of such objects would be simpler, and will be found less difficult, than the painting of drapery.
We have gone somewhat into detail in giving this description as to the methods of painting in buon-fresco, but we have done so because we believe it to be the best and highest form of wall decoration, and we are convinced that if a dry wall is obtained, properly prepared, and none but the best and safest colours used, it is a perfectly possible medium for wall decoration, even in this climate of ours.
As a proof of this we wish to mention that the fresco painted in this method, and with colours similar to what have been described as suitable for buon-fresco, by Sir Edward J. Poynter, P.R.A., in the chancel of St. Stephen’s Church at Dulwich, about thirty-five years ago, is at the present moment in a perfectly sound condition, and is almost as fresh looking and bright as when first painted. It is exposed to the effects of condensed vapour and moisture in the winter months, when the church is heated, and it is subjected to the fumes of the gas that lights the church, yet it shows no signs of deterioration; on the contrary, the surface looks, and feels to the touch, more like terra-cotta, or of the texture and firmness of biscuit porcelain, than anything else one can think of.
When one hears of frescos perishing in this country, like some of those in the Houses of Parliament, we may be sure that the causes are not always due to the damp climate, nor altogether to sulphur 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 when juxtaposed to or mixed with them.
Photo. Bolas.
Plate 3.—St. Stephen before his Accusers, and the Stoning of St. Stephen