Sir E. J. Poynter, Bart., P.R.A., Fresco in St. Stephen’s Church, Dulwich
CHAPTER V
SPIRIT FRESCO PAINTING
The method of painting followed out in the spirit-fresco system, as far as the manipulation of the colours is concerned, is almost precisely the same as that of the lime or buon-fresco process, the exception being, that the over-paintings and retouchings may be executed at any time, weeks, months, or even years, after any previous painting of the same parts; but as the preparation of the wall is of course somewhat different, and the medium is altogether so, a short description of the method or system may be of interest to students.
Spirit-fresco painting is a 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 previous to the painting of these works, for the fresco painted by him in Lyndhurst church in the New Forest. Some of the frescos in the Manchester Town Hall, by Ford Madox Brown, are painted in this process, and some of the paintings by various modern artists which decorate the interior of the Royal Exchange are executed in the spirit-fresco medium on coarse canvas, and afterwards fastened to the wall.
Although we cannot claim for spirit-fresco that peculiar quality of monumental dignity, nor the undoubted luminosity or power of reflecting light that is characteristic of buon-fresco paintings, still, if the entire system is carefully carried out, from the preparation of the wall down to the finished painting, the work should be as lasting and as permanent as any other kind of wall painting.
For instance, the spirit-fresco executed by Lord Leighton in Lyndhurst church, forty-four years ago, had still retained its brilliancy of colour and was in a perfectly sound condition three years ago, when the writer last saw it. In the winter season water from the condensed moisture constantly runs down the surface of this fresco, but does not seem to injure it. No amount of damp or wet on the surface will injure spirit-fresco paintings, as the colours are practically locked up in wax, upon which water has little or no injurious effect, but if the wall is damp at the back, or water gets in by accident, the plaster ground behind becomes soft and friable, and the coloured surface is soon destroyed. Damp behind the surface is the greatest enemy to this kind of fresco,
