Fresco Painting - Modern Methods and Techniques for Painting in Fresco and Secco

This book has been written for the painter in fresco, who wishes to acquire enough knowledge of the craft to enable him to supervise, guide and efficiently work with the craftsmen plasterers who are put in charge of the preparation of his materials and wall and who will assist him as the finishing plasterers throughout the period of painting. It should be remembered that the surface of the so-called "e;Intonaco,"e; must yield the best possible working conditions, giving the painter the longest possible time to execute the part of the wall intended for a day's work. In order that such a condition should prevail, a thorough knowledge of the materials used in the practice of fresco painting must be acquired through the practical utilization of a series of operations to obtain necessary ultimate results. Stress is, therefore, laid upon the fact that the painter himself must guide and guard the preparation of his materials and the different layers of mortar which build up the fresco ground, the foundation for the painting. Also, if he is not prepared himself to do the work, he must be able to give final full directions for the "e;Intonaco"e; or painting surface, the richness of the mixing and its perfect application which in itself requires experienced handling of tools in the piece-meal plastering of the wall, all of which is the groundwork for the actual painting. This HANDBOOK, therefore, will endeavor to explain the practice of fresco and fresco-secco painting in connection and collaboration with the trade from which it was derived - the building trade.

This book has been written for the painter in fresco, who wishes to acquire enough knowledge of the craft to enable him to supervise, guide and efficiently work with the craftsmen plasterers who are put in charge of the preparation of his materials and wall and who will assist him as the finishing plasterers throughout the period of painting. It should be remembered that the surface of the so-called "e;Intonaco,"e; must yield the best possible working conditions, giving the painter the longest possible time to execute the part of the wall intended for a day's work. In order that such a condition should prevail, a thorough knowledge of the materials used in the practice of fresco painting must be acquired through the practical utilization of a series of operations to obtain necessary ultimate results. Stress is, therefore, laid upon the fact that the painter himself must guide and guard the preparation of his materials and the different layers of mortar which build up the fresco ground, the foundation for the painting. Also, if he is not prepared himself to do the work, he must be able to give final full directions for the "e;Intonaco"e; or painting surface, the richness of the mixing and its perfect application which in itself requires experienced handling of tools in the piece-meal plastering of the wall, all of which is the groundwork for the actual painting. This HANDBOOK, therefore, will endeavor to explain the practice of fresco and fresco-secco painting in connection and collaboration with the trade from which it was derived - the building trade.