MURAL
OR
MONUMENTAL DECORATION
|ts aims airtj HTctbous
COMPRISING
FRESCO. WATER-GLASS.
ENCAUSTIC. MOSAIC.
OIL PAINTING.
WITH AN APPENDIX.
BY W. CAVE THOMAS,
AUTHOR OF "THE SCIENCE OF MODERATION," " METRONOMT, OR THE
SCIENCE OF PROPORTION," ETC, ETC.
LONDON:
WINSOR AND NEWTON, 38, RATHBONE PLACE, W.
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LONDON':
PH1NTED BY J. OGDEN AND CO.,
172, ST. JOHN STEEET, E.C.
PREFACE
3589ol
IV PREFACE.
CONTENTS.
PAGE
Introduction .1
CHAPTER I. FRESCO-PAINTING.
Its Revival
by the German Painters Why it should be pre-
ferred to Oil
Cartoons and Sketches of Colours necessary
The Construction and Preparation of the Wall Selection
of the Lime Constitution of different Limes Reduction
of the Causticity of the Lime The Nature of Lime Slak-
ing and Preparation of the Lime The Composition of the
Plaster or Mortar for the Ground Implements Colours
Process of Painting Preparation of Tints, &c. Methods
resembling Fresco in Effect Works on Fresco-Painting . 17
CHAPTER IL ENCAUSTIC.
The Antiquity of the use of Wax against Atmospheric Corro-
sion The Nature of the Ancient Encaustic Painting The
Researches of Count Caylus and M. Bachelier Experiments
of Chev. Lorgna Count Caylus's Explanation of a Passage
in Pliny
Caylus's Method Preparation of Grounds Pre-
paration of Tints Retouching Mode of Developing Pic-
ture by Heat Virtues of Encaustic Painting Comparative
Power of Colours in Oil and Wax to Resist Change
Werner of Neustadt's Method Mrs. Hooker's Method
Recent Method Works upon Encaustic Painting . . 49
Viii CONTENTS.
Painting 106
CHAPTER VWATER-GLASS.
Inventor's Preface Sec. Various kinds of Water-Glass,
1.
APPENDIX.
Report of D. Maclise, Esq., R.A., on the "Water- Glass," or
" Stereochromic" Method of Painting Works upon Paint-
ing Latin, Italian, Spanish, French, English, Dutch, Ger-
man On the History of Painting in General On the State
of Painting amongst the Greeks and Romans The Lives of
Painters On Taste Dictionaries Preservation of Pic-
tures List of Painters List of Existing Mural Paintings 187
ON
MUEAL DECOBATION.
INTRODUCTION.
The Aim of Mural or Monumental Painting.
B
;
2 MURAL DECORATION.
1
"The Science of Moderation; or, Quantitative Theory of
the Good and the Beautiful." Smith, Elder, & Co.
INTRODUCTION. 7
least objectionable.
INTRODUCTION. 1
12 MURAL DECORATION.
INTRODUCTION. 15
abandonment.
It being the nature of mortar to set after it has
been rendered a few hours, in consequence of its
100-0
100
100-0
FRESCO. 31
Carbonate of lime
Bituminous matter
....
. . . .
99*5
0"3
Earthy matter 02
1000
moist state.
As regards incidental ingredients, the presence
o
34 MURAL DECORATION.
Lime .......
Carbonic acid . . .44
56
100
Lime .......
Carbonic acid . . . . .44
56
100
FRESCO. 35
never regained.
Implements.
The implements used are wooden and glass
floats trowels of wood and iron
; palette-knives ;
The Colours.
The colours are chiefly simple earths, no vege-
table and few mineral preparations can be used
with safety. They are mixed with or ground in
water, and kept in jars.
The most generally used are white,
colours
that is, lime which has been long kept, or rendered
less caustic by repeated manipulations and drying,
Preparing to Paint.
importance in fresco-painting.
Another practice of fresco-painters is, to mix
some of the intonaco before laying it on the wall,
to a middle tint of the colour required : its advan-
tages are, that painting can be more rapidly exe-
cuted and that accidental scratches are less evident,
the colour in this, case being incorporated with the
mortar. When the painting is thoroughly dry,
slight imperfections in the joining of the plaster
Distemper and crayons have also been used for this pur-
1
48 MURAL DECORATION.
ENCAUSTIC PAINTING. 51
66 MURAL DECORATION.
applied.
Thirdly. When the picture is dry, it is put
near the fire, whereby the wax is melted and
absorbs the colours.
It must be allowed that nothing can be more
simple than this process ; and it is thought that
this kind of painting is capable of withstanding
the weather and lasting longer than painting in
oil. .
at pleasure ;
you cannot fatigue your colour, nor
ENCAUSTIC PAINTING. 01
64 MURAL DECORATION.
ENCAUSTIC PAINTING, 65
1
This, at least, is the opinion of Muntz.
;
ENCAUSTIC PAINTING. (
.)
fix water-colours.
At the end of the last century many experiments
were made by Mrs. Hooker, of Rottingdean, in the
county of Sussex, to establish a method of paint-
ing in wax. This lady, who united practice
MOSAIC.
1
There is also another species of Mosaic termed pietre dure,
which consists in inlaying coloured marbles. A modern
specimen of this method, by the Baron Triqueti, is inserted in
one of the spandrils of the cloisters, University College, Lon-
don.
MOSAIC. 75
1
" Taking the various qualities of Mosaic which may be fitly
used for decorative purposes, the price would vary from about
30s. the square foot to 4, or, at the utmost, 5 for the finest.
This includes the fixing, but not, of course, the price of the
cartoon. When these prices are compared with what an
artist of eminence, and fully employed, would receive for the
execution of a great fresco, or any elaborate mural decoration ;
MOSAIC. 7')
80 MURAL DECORATION.
;
durability. Enamels or vitreous substances,
'
which the Italians call '
smalti,' and which had
not been unknown in earlier times, were mixed
with them. The art, too, of enclosing gold leaf
within layers of glass, a very difficult one, and
requiring great nicety of manipulation, was also
discovered (there is no evidence, I believe, that it
1
Vide Lecture on Mosaic Decorations, by The Rt. Hon.
A. H. Layard, M.P. Sectional Papers, Royal Institute of
;
mosaic. 95
and last of these have not yet had a fair trial, the
public employment vouchsafed to painters has been
of so desultory a kind, that there have not been
opportunities for gaining that breadth of experi-
ence which is absolutely necessary to learn how to
Transparency in Oil-Painting.
presents.
Opacity or Solidity.
OIL-PAINTING. 113
Impasto.
1
That is to say, the light and shade, or form may be
completed prior to colouring.
OIL-PAINTING. 117
colour produces a
a warm passed over a cool
than the reverse, for this reason,
better effect
What to Avoid.
dication.
1
See Kastner's Archiv for Natural Philosophy of 1825,
385412. Separately printed by Leonhard Schrag,
vol. v., p.
of Nuremberg, with the title On a New Product from Silica
:
SECTION I.
1
The name " Water- Glass " is, in fact, a generic name
employed when speaking of the above four varieties. I do
not know whether a lithia water-glass might be obtained.
Perhaps a good double water-glass of potash and lithia might
be produced by replacing a part of the potash by lithia, for
which purpose lepidolite could be conveniently employed.
This double water-glass would no doubt be rather expensive ;
solved.
Freshly precipitated or gelatinous silica offers,
coagulate.
The solution is allowed to cool, and left to
A mixture of
45 lbs. of quartz,
23 ,, anhydrous carbonate of soda,
3 ,, powdered charcoal,
practical applications.
and the alkali ; but then the former does not re-
main passive, passing, according to its peculiar
nature, through various states of cohesion, be-
coming itself active, retiring, so to speak, entirely
perceptible.
Is then this extraordinary change merely caused
by adhesion ? I think that the water-glass and
carbonate of lime combine directly, i.e., without a
mutual decomposition, forming a weak chemical
compound, such as is met with in the mineral
known by the name of " cancrinite," which is
stone.
(b.) Dolomite.
Bone-ash.
Slaked Lime.
the surface.
Pure magnesia also called magnesia usta, from
the w ay
T
it is prepared (by igniting pure carbonate
of magnesia), when ground together to a paste
with concentrated water-glass, sets more rapidly
than a mass of oxide of zinc and water-glass, and
dries up to a very hard mass, but it is liable to
1
It isby no means remarkable that a little potash is
dissolved on grinding this or a similar mass with water,
since it has been fonnd that common glass is slightly soluble
in water when ground for some time in an agate mortar,
and that when water is boiled for some time in a glass re-
tort, the glass is acted upon, as was first observed by
Scheele.
WATER-GLASS. 147
GrTPSUM.
3
Hijdrated Sulphate of Lime (Ca. 0., 8. O. + 2 H.O.).
1
The Maier told me that he was
late sculptor Professor
enabled to employ a faulty stone in a few days as if it had
contained no fissure, by dropping a few drops of soda water-
glass into the crevices. He could not employ potash water-
glass equally well since it was not so liquid, and did not
penetrate into the fissures.
WATER-GLASS. 151
SECTION II.
1
pared to it. At Munich, the metropolis of
WATER-GLASS. 155
surface.
I cannot, however, approve of this method, and
I think it far better to destroy the calcareous
incrustation by means of a simple chemical reac-
tion, viz., by dilute phosphoric acid (1 part of
freshness.
Nothing more remains now but to fix the
Krotz.
Our wish of trying the execution of a stereo-
chromic painting on the outside of an old build-
ing, on a wall which was much exposed to the
action of the atmosphere, w as met
T
half way by
M. Himbsel, who desired to have two images of
saints executed at his country-house on the Lake
of Starnberg, built about twenty years previously.
The walls were found sound, the plaster firmly
adhering to the stones (of which w e convinced
T
1
This picture has since been successfully finished, and is
now in the possession of the King of Bavaria, and may be
174 MURAL DECORATION.
They are :
WATER-GLASS. 183
admissible,
No organic colour, such as lake, is
contain anything
they ought especially not- to
which reacts upon the water-glass and produces a
to coagulate, such as
decomposition, or causes it
frequently
gypsum or sulphuric acid, which are
182 MURAL DECORATION.
1
The preceding remarks are very important to fresco-
painters. W. C. T.
184 MURAL DECORATION.
ferred. They are now six years old, and are still
winter.
Stereochromy offers considerable advantages to
the artist ;
painting is quite in his power, as well
power.
Stereochromy possesses that advantage which
fresco-painting also has over oil-painting, that the
colours are not shining, and that the observer can
get a full view of a picture in whatever position
he may be.
I have given a description of the principles
1
Death has put an end to the labours of the learned philo-
sopher, and the reader will not see the promised continuation.
Fuchs had a presentiment of his approaching death when he
wrote the above concluding lines, and he, who never deceived
others, and rarely himself, was not deceived in this presenti-
ment. He died eighty-two years old, on the 5th of March,
1856. Two of his pupils and friends have shown what Fuchs
did for his country and for science
Professor Dr. von Kobell,
in a commemorative oration delivered on the 25th of March,
1856, the anniversary of the foundation of lie Royal bava- I
I.
1
Fide Twelfth Report of the Commissi oners on the Fine Arts.
188 APPENDIX.
must have been the greatest masters of that ancient art for
it appears, beyond question, that the fresco-process is now
carried oat in the same manner as it has ever been the artist
beino- confined within the limits of the applicability of very
scant materials, and, while working with these, doubtful as to
their effect, his feeling aspiration subdued by the dishearten-
in o- conviction that his art is the slave of his means ; since,
1
A very small portion of these details could only be painted on the
fresli-iaid plaster each day in the old 'fresco-process, and, therefore, in the
progress of the work, would neceE Bitate innumerable joinings of the plaster,
and give rise to such complicated and minute cuttings, that it would not be
possible to gel a mason t>> execute them while the ground turn painting
in Btereochromy is laid all at once, and the work ean be left and resumed at
pleasure.
APPENDIX. L89
showed that only a few parts of it were set, while all the rest
the greater portion of it allowed of being disturbed by
touch, and the groundwork could be readily laid bare by a wet
sponge. The appearance which this picture presented after
the lapse of a few weeks was still less satisfactory some por-
;
transcendantly imposing are the results when the two arts are
harmoniously combined. On approaching those paintings
to examine their (so to speak) structural qualities, I was
much surprised at the excessive degree of surface-coarse-
192 APPENDIX.
rent colour which had been passed 'over the work, perhaps
towards its completion, had become stagnant, as it were, in the
interstices and the colouring matter, being there precipitated,
;
risk is, for the same reason, liable to be incurred when the
water-glass is being applied by that instrument. The picture
having been completed under these observances, I had the
satisfaction of hearing it pronounced as highly successful when
its fixation was accomplished. It was begun and completed
approved of for fresco, but with more sand, and the surface
being evenly grained by the method called "floating." The
figures painted on these have been indelibly fixed and the ;
APPENDIX. 105
himself kindly in my
In the laboratory of Dr. Petten-
behalf.
kofer he showed me a specimen of the same kind of work,
thereby strengthening my belief that porosity, which evidently
is so requisite for sucking in the water-glass, may and does
the picture, even after having been fixed, admits of being re-
touched, and carried out to any degree of finish which may
be deemed desirable.
The art of stereochromy being thus enthusiastically recom-
mended for the adoption of the painter in preference to that of
fresco, and such recommendation being supported by actual
proofs of its success in supplying him with a means he has
liilhcrto been so much in need of, it cannot but follow that he
APPENDIX. 11)7
lime, can in that state be infused into the wall through its facial
painting, and so render the latter fixed, that the art of stereo-
chromy mainly depends. This art is new to mural painting,
but the chemical fact is of long standing. Soluble alkaline
silicate (water-glass) is but ordinary glass in a different form.
198 APPENDIX.
and drinks into all its multitudinous pores its vitreous bever-
age. The similar matters cohere as things physically suited
for union, and upon this fact the art of stereochromy is based,
and therefore will endure. The process of fresco-painting is
conducted according to natural conditions of matter which are
more evanescent, and consequently the artist's work is more
liable to fall with the wreck of chance or time, as we find it
does if not well cared for. The fixation of the pigments in fresco
is simply due to the circumstance that the painter, in brushing
his colours on the wet plaster, disturbs a certain portion of
1
the lime, which, commingling with them, becomes, by
union with the carbonic acid of the atmosphere, hardened into
a superficial pellicle, and gives its own consistency to them.
This pellicle of painted carbonate of lime is non-absorbent ; it
in half an hour the ground having become dry, I could see the
effect of the portion I had completed. I then again wetted an
adjoining piece, and so on to the end. In the mode of working
I found I could freely, carelessly, use a stiff" hog-hair brush to
rewet what I had painted without risk of displacing the colour,
or in any degree injuring what I had finished. In one spot I
wished to restore the ground after I had coloured it, and
it was with some difficulty, and only by frequent and for-
cible use of a stiff brush and a sponge, that I could remove the
colour. When quite dry next day, a solution of water-glass
was formed of 2 parts water and 1 of the concentrated
liquor imported from Berlin, and, this solution having been
twice applied, the painting is now perfectly fixed. I have
also to remark that in this case the water-glass for fixing the
picture had been freely passed over it, with a large flat water-
colour brush ; and I may further add that I have tried to use
in its full force crimson lake (said to be particularly perish-
able), and as yet it remains without any apparent deteriora-
tion. This specimen having been thinly painted, water freely
202 APPENDIX.
the line effected is clear, and can be very easily made by the
stylus.
A ground of Portland cement, without any sand being
mixed with it, is extremely absorbent, yet a painting on it is
very difficult to fix, and when fixed, appears many degrees
darker than when first painted. The execution of the paint-
ing is rendered difficult in consequence of the wet colour being
instantly sucked dry from the painting-brush. Painting fixed
by water-glass can, if necessary for alteration, be painted on
and fixed again.
The quality of " impasto " (not now much in favour, even
in oil-painting, where the sustaining nature of the vehicle se-
cures for it an unctuous charm,) can hardly be reached, either
in fresco or stereochromy. In both, if attempted by loading
the pigment, it is apt to fall away, and at best looks only dry.
If, however, the painter should deem the raised surface of
the impasto desirable, it would be safer to have it secured for
him by the plasterer, when spreading the ground. It would
appear to be a quality more allied to modelling than painting.
Solid painting is very easily attainable, or rather it can
204 APPENDIX.
could not be effected, for the rough work looks darker because
Of the innumerable j-hadows in its interstices, and both sur-
;
APPENDIX. 205
the best, and one part of Portland cement (or, if yon wish
APPENDIX. 211
(Translation.)
Berlin, September 3, 1800.
1
Suggested by .Mr. BCaoliae.
APPENDIX.
the painter.
6. May not the water-glass be applied with a soft brush
instead of the syringe in the fixing-process R
No. The syringe alone is to be used, and carefully, so that
the water-glass be every where equal.
7. May
not the process of imbuing the wall with water-
glass previously to painting be dispensed with ?
It is quite unnecessary ; it is no longer done.
8. (Reference to the water-glass sent from Berlin, which
failed to fix a painting in three applications.) Would not one
or two applications of a strong solution of water-glass be as
efficient as three or four of a weak solution. The former
would be less liable to disturb the colour ?
214 APPENDIX.
Professor Pettenkofer
I
. While
....
in this city I
now convinced that the kali is quite safe, while the other is
216 APPENDIX.
quantity.
Daxl. Maclise,
March 27, 1861.
;;
II.
ITALIAN WORKS.
SPANISH.
FRENCH.
1697, 4to.
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; les vies des
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1721, 4to.
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1761, 12mo.
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Bervir au Progres du Gout et des Beaux Arts, Paris, 1762,
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Bibliotheq. des Artistes et des Amateurs Abbe* Joan Etajr-
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ENGLISH.
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232 APPENDIX.
APPENDIX. 233
Entretiens sur les Vies et sur les Ouvrages des plus excel-
lens Peintres, anciens et modernes, Andre Felibien. Paris,
1
<>'><;, five vols., 4to, and London, 1705, four vols., 8vo.
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APPENDIX. 235
ON TASTE.
principally of Taste.
In the Theory of the Fine Arts, Schott, there is a chapter
on Taste.
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Dizionario portatile delle Belle Arti, che contiene quanto e
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Theorie generale des beaux Arts, redigee par Ordre alpha-
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(German.)
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IV.
Turin.
Religious . . . Duomo . Fresco.
Veecellt.
Gaudenzio Ferrari Devotional . . St. Cristofero . . Fn
Novae a.
~
Lnini .... f
1
Sacred and
Legendary
)
[
Duom " "
Frescc
Genoa.
Carnbiaso . Mythological Palazzo M. Spinola Fresco.
Perino del Yaga . Historical Do. Doria Panfili Do. .
Milan.
Luini .... Fanciful . . Sant' Ambrogio . Fresco.
Gaudenzio Ferrari Religious . Do Do.
Calisto di Lodi .
Gaudenzio Ferrari
Carlo di Crerna . Religious . Le Grazie D
Maleotto . . .
Pavia.
Unknown .
Bramante .
Antonio di Edessa
. . )
Payia. con.
Cremona.
Boccaccio Boccacini, {
Legendary Do
and otliers
Giulio Campi .
Malosso . . .
Mantua.
Mantegna . San Pietro . . .
Giulio Romano .
Bergamo.
Luca Giordano .
}Santa Maria)
Salmeggia .
( Maggiore {
Unknown, Ancient Santa Grate
Padovanino
Moretti .... Religious Sant' Andrea .
Brescia.
Bagnadore
Rossi Religious Sant' Afra . . . Fresco.
Sandrino .
Giugno .
Gandino
Moretto Do. . San Guiseppe .
Gambara .
San Faustino
Foppa Do. .
f
. .
{ Maggiore
Sandrino .
Gandino
Rama Do. . Carmini .
I lit tucco
Ferraramola
Moretto f San Giov. Evan-
Romanino Do. .
.
1 gelista
Ant. Gandhi i
Fiaminghiiio
Mm rone .
Do. . Sta. Maria del
Pilati . .
Grazzie
Rossi
EXISTING MURAL DECORATIONS. 259
Brescia. con.
Classical . D .
Gambara . ( bara
( CasaMari Inengi i
Ferrainniola I) .
( della Fabrifin |
Padua.
(Palazzo della i
Giotto Various .
{ Ragione
Giusti .... Religious Duomo . . . . Fresco.
Aldio-hiero di Zevio
Jacopo Avanzi Do.
Do. Do. Sta. Felice
Aldighiero di Zevio
Avanzi .... Do San Giorgio Do.
Giotto .... (
\
Sacred and \
Legendary j
Giotto's Chapel
Venice.
Tintoretto .... Doge's Palace Fresco.
Tintoretto ....
P. Veronese .
Painters' Names.
1
Venice. con.
Tintoretto . II Santissimo)
Do.
G. Bellino .
i Redentore
Bassano St. Giorgio Mag-
Do.
Tintoretto . giore
Titian . .
.
.
Tintoretto .
( Scuola di San i
MlJBANO
Giov. Bellino .
Tintoretto .
PlACENZA.
i
San France-
Malosso Religious -co.
Grande
Caniillo Gavassetti Do. .
Sant' AntoDio . . Do.
Campi .
Sojaro .
Painters' Names.
.
PlSTOIA.
* Palazzo della
Paolo Uccello . Portrait
( Communita. [
Duomo
Unknown .... Religions j
{
Capella
de Sacramento}
I).,.
Crist. Allori . . .
Gliirlandajo .
lOiL
Seb. Veronese
Prata.
Fra. Filippo Lippi . Religions Duomo .... Fresco.
Pisa.
Cimabue ....
Frato Mino da Turrita
A. Tasi . . . Religions Duomo . Mosaic.
Gad. Gaddi
Vecino .
Bernard Falconi
Riminaldi .
Spinello Spinelli
Benozzo Gozzoli
Cigoli .
Ligozzi .
Do.
Historical San Stefano . .
Crist. Allori .
Jacopo da Empoli
Bronzino
Lod. Buti . . Religions Do.
Vasari .
Unknown .
Collegio Puteano . Fresco.
Francesco Traini
Fra. Bartolomeo Sta. Caterina Oil.
Religions . .
Tempesta . .
. .
Pisa. con.
Empoli.
Giotto ....
Jacopo da Empoli
Religious . Collegiate Church
Cigoli
Ligozzi .
And. Pisano .
And. Tassi
Gaddo Gaddi .
Jac. di Casentino
Santa Croce
Vasari .
Crist. Allori .
Billiberti . .
Cimabne
Tad. Gaddi jDo.deiSS.Mar-
.
Do.
( tiri
Bronzino
Sassoferrato
Do. Santa ( Jroce
)
Florence. con.
Cirnabne i
Croce I
Masolino
Masaccio .
Sacred and Le- Carmine .... Do.
gendary
Filippo Lippi .
Cos. Rosselli .
Beato Angelico
Santi di Tito .
II Volterano .
Do Santi Apostoli
L. della Robia
Pocetti .
Florence. con.
Pocetti
)
Santi di Tito . . .
[
Religious . Sta. Maria Madcle-
Angelico da Fiesole .
J
lena de' Pazzi
P. Perugino .
Do. . . . Do Fresco.
Vasari .
Cigoli .
Historical Palazzo Vecchio .
Passignano
Lisrozzi .
Luca Giordano .
Allegorical Palazzo Ricardi Do.
Marco da Faenza Arabesque and Galeria Imperiale
j
Cristofero Papi .
Portrait
1
Hallof Mars,
Pietro da Cortona Fresco.
)
Ciro Ferri
|
I gallery . J . I
Marini .
Chapel Saint'
Spincllo Aretino Do.
James, Do. . )
CENTRAL ITALY.
Painters' Names. Kind of Subject. Locality. M< thods.
Fekbara,
Garofalo .
Carpi
Vit. Carpaccio
Dosso Dossi
Scarsellino .
Scarsellino
Do. San Paolo Fresco.
Bonone .
Do Capuchin Convent
Nic. Rosselli
Dielai .
Carl. Bonone
Bastianino .
Campo Santo
Bastaruolo .
Scarsellino .
Cignaroli .
Parolini
Dosso Dossi The Castle Fresco.
Garofalo
D. Dossi
Bastianino .
Guercino
H. Caracci
f Casa Guercino,
Gue rcmo Various
I Cento . . )
BOLOGXA.
Pellegrino Tibaldi . University . Frescc
Nic. dell' Abate . .
Do. . . . . Do.
j Lecture Room,
Innocenzio da Imola Classical )
Do.
{ Botan. Gardens]
Unknown, 12th and^
loth. century-
Religious San Stefano . .
Teresa Muratori
GiosefFo Dal Sole
Graziani
Bigari .
Franceschini
Bagnacavallo
Zanotti .
Lod. Caracci
Do. Duonio . ? Oil
Dom. Tibaldi
Fiorini .
Aretusi
Don. Creti
Ercole Graziani
Alf. Lombardo
Guido . .
Fran. Francia
Tiarini .
Lor. Costa
Girolamo da Treviso
Brizzi . Do. Do. Frescc
Tiarini .
Calvart . .
Parmigiano
Costa . .
Fil. Brizzi .
Ferrari .
Mazzoni
Tiarini .
Mastelletta
Do. San Domcnico . Freso<
Guido .
I /on. Spada .
Lip. Dalmasio
Pacini .
Fran. Francia
Do. Clnipcls, Do. . . Oil.
Ant. Rossi
Fran. Brizzi ,
( ilirrcilio
EXISTING MURAL DECORATIONS. 269
Bologna. con.
Fiaraingo
3esi . .
Dangiasi
5r. Vasari . Do. . Sacristy .
Lion. Spada
Lod. Caracci
ALbani .
Franchescliini
Do. . Do. Oil.
Gruido .
riarini .
Aretusi .
Franceschini .
Giaconio Francia
Legendary Sta. Cecilia . Fresco
Chiodarolo
Mastro Amico
Giac. Francia .
Marcantonio Frances
chini ....
Luigi Qnaini .
Fresco.
Giuseppe Mazza .
An. Caracci .
Lod. Caracci .
gfiore .
Bartol. Passarotti
270 LIST OF THE PRINCIPAL
Bologna. con.
Prospero Fontana
Inno. da Imola .
Lod. Caracci .
Francesco Brizzi
Lor. Sabbatini
Fiarnmingo
Ag. Caracci .
Pelegrini Tibaldi
Religions S. Giacomo Mag- Fresco.
Lavinia Fontana
giore
Jacopo Avanzi
Simone .
Fran. Francia
Lor. Costa .
Fel. Cignani .
Nic. di Bari .
Cesi ....
Simone da Pesaro
Alboni .
Tiarini .
Annib. Caracci
Do. . S. Gresorio Oil.
Fiarnmingo
Gia. Francia .
Cesi ....
Guercino .
Tiarini .
Do. S. Leonardo
Lod. Caracci .
Ercole Procaccini
Carl. Anton. Rambald
Carl. Cignani. Do. Sta. Lucia .
Lav. Fontana . .
Fiammino'o
o
Francesca Cossa .
Properzia de Rossi
Do. Madonna del Ba- Oil.
Lav. Fontana .
raccano
Pros. Do. . .
Antonio Caracci .
Bologna. con.
Lucio Massari
Paolo Caracci . .
Madonna
Alboni .... Religious
lombano
<li S. Cm- |<y,
Lippo Dalmasio .
M. Angelo Colonna i
Girolami Domini
Franceschini .
Luigi Quaini .
Giuseppe Mazza .
Alboni ....
Guercino .
Elisabetta Serani
Loci. Caracci *
J
Gioaccliino Pizzoli Do. Do. Soccorso . Do
Tib. Passarotti .
Bagnacavallo .
Tiarini ....
Oraz. Samacchini
Carl. Fran. Dotti
Do. . Sta. Maria Mag-
Erco. Procaccini
e'iore
Canonico Franches
chini .
Anrel. Milani
Ang. Pio .
Tamburini .
Cavedone .
Bartol. Passarotti
Giov. Taraschi .
Gir. Sicciolante
Vicenzo Onofrio
Do. S. Martino ^fag- Do.
Cavedone .
Perugino .
Lor. Costa .
Lod. Caracci
Cesi .
Mauro Tesi
272 LIST OF THE PRINCIPAL
1
Painters Names.
.. .
Bologna con.
An. Caracci .
Lucio Massari
Lod. Caracci . Do. Do. Grassi .
Donato Creti . .
Tomm. Lauretti .
Lor. Sabbatini
Do. Ranuzzi
Oraz. Samacchini
Tibaldi ....
The Caracci . .
The Caracci . .
Guido ....
Cesi Legendary Scuole Pie . .
Bagnacavallo .
Spanish College
An. Caracci .
Pietro Desani
Ang. Colonna
Passarotti .
Lip. Dalmasio
The
Cesi .... Misericordia
(Environs) .
Inno. da Imola
EXISTING MURAL DECORATIONS. 275
Painters' Names.
. .
Ravenna con.
Nuovo
Mosaic.
|
Fran, da Cotignola
Religious Sta. Ap-ata . . .
Luca Longhi .
S. Michele, in
Unknown . Do.
Affricisco
Mosaic.
( Santa Maria, in
Do. Do.
( Cosmedin
Filippo Pasquali
Dom. Corvi . Sta. Maria Madda-
Tomm. Sciacca lena
Franceschini .
Guercino .
Carl. Cignani
Fran, da Cotignola S. Romualdo (Oil.
P. Cesare Pronti 1 Fresco.
Luca Longhi .
Fran. Do. . . .
Palma Giovane .
Giotto .... j
(
Sta. Chiara(con-
vent)
Fresco.
Gal la Placidaj
Unknown, Ancient Religious .
J
Mosaic.
( (mausoleum) j
Forli con.
Carl. Cignani
Gucrcino .
Relio-ious S. Filippo Neri
Carl. Marrati
Guido .
Do. s. terolamo
( Uil.
Cesexa.
Fran. Franchia Religious Palazzo Publico Uil.
Rimini.
Paul Veronese
Guercino . Religious S. Giuliano [Oil.
Pronti .
t,
Fix
San Mabixo.
Guilio Romano . Relio-ious Council Chamber
Pesaeo.
Guido Religious . Cathedral . . . Oil
Giov. Bellini Do.
. . . . . . S. Francesco .
Axcona.
Domenichino Cathedral Fre
Relio-ious . s
Lod. Caracci
Perugino .
Geno-a .
Do. .
Sta. .Maria Nnova Oil.
Sassoferrato
Giov. Santi
Guercino .
Aless. Tiarini
Viviani ....
Pompeo Presciutti
Do. S. Tommaso
Bartol. Do. . .
Ancona con.
Guercino .
Palma Vecchio .
Giov. Santi
Muziani /Oil.
Religious Agostino
Albani .... S. . . .
( Fresco.
Presciutti .
Mancini
Ceccarelli .
Roncalli
Marco Benefial . ( Sta. Maria del
Legendary Oil.
Lor. Lotto . 1 Piazza .
Titian ....
Guido .... Religious . S. Francesco . . Do.
Bellini ....
Guercino . . Do. . . . Sta. Pelagia . . Do.
( Loggia de' Mer-
Tibaldi Mythological Fresco.
1 canti ....
LORETO.
Lnca Signorelli .
Lombardelli .
Pietro Lombardo
Ulik nown
Church Castel \
Do. .
Nnovo . . j
)
Mace rata.
Perugino (Qy.) .
Uebino.
Baroccio . . .
Religious Cathedral
Raffaele del Colle
Giovanni Santi . Do. . S. Francesco . . Oil.
S. Guiseppe)
Timoteo della Vita Do. . Do.
(sacristy) . |
S. Francesco di)
Titian Do. Do.
Paolo . .
)"
( Confraternita di 1
Church and \
Georgio Andreoli (
Urbania.
Confraternita di
Giulio Romano . Fresco.
Corpus Domini) i
San Giustino.
Doceno .... Palazzo Bufalini . Fresco
Citta Di Castelo.
Bernardino Gagliardi
Perino del Vag (?)
Virgilio Ducci
Legendary Cathedral . . . Oil.
Sguazzino .
Ghirlandajo .
Giov. Serodine
Rinaldo Rinaldi
Religious . Do. . . Fresco.
Marco Benefiale
Rosso Fiorentino Do. . . Capellone do. Do.
Pomarancio .
Tom. Conca .
Gregorio Pagani
Crist. Gherardi
Sguazzino .
(Palazzo Comu-
Lucca Signorelli Fresco.
1 nale (gateway)
Do. do. Religious . Palazzo Vascovile. Do.
Doceno .
Painters' Names.
.. . .
Orvieto.
Unknown . Religious Duomo .
Luca Signorelli .
VOLTERRA.
Mino da Fiesole . Religious Duomo
Pomarancio
Giov. de G. Giovanni
Domenichino .
Giov. Balducci .
1 Virgin Do.
Pomarancio Do. S. Giovanni
Luca Signorelli .
Giov. Balducci .
Do. S. Francesco
Gioballista Naldini .
Cosimo Daddi
Jacopo da Furenge . ( Confra. della|
Do.
Cennino da Colle 1 Croce di Giorno 1
Franc. Curadi
Volterano .... Do. S. Agostino
Carlo Maratta
Do. S. Michele
Giuseppe Zocchi
Domenico Ghirlandajo Do. S. Antonio .
Dom. Ghirlandajo .
Donato Mascagni .
Siena.
Ducciodi Buoningsegna Religious Duomo .
. . . )
Siena con.
Sodona ....
Perugiuo .
Bernardino Fungai
Frac. Yanni .
Casolani
Paccliiarotto .
Do. San Cristoforo Do.
Bernardino Fnngai
Beccafumi .
Arcangelo Salimbeni
Gnido da Siena .
Matteo da Siena
Yentnra Salimbeni
(Oil.
Lnca Signorelli . Do. San Domenico .
Franc. Yanni .
Andrea di Yanni
Sodona .... Do. San Francesco . Do. do.
Beccafunii .
Baldassare Pernzzi
Legendary Fonte Giusta . .Oil.
Bernardino Fnngai
Francesco Yanni Do. . . Sta. Lucia . Do.
Sta. Maria di
Rustickino Religions . Do.
Provenzano j
Franc. Yanni
Casolani Religions San Quirico Oil.
Salembeni .
Sodona ....
Salimbeni .
Oil.
Fra. Bartolommeo Do. San Spirito . .
j
I Fresco.
Pacchiarotto .
Franc. Yanni .
Dieti Salvi
Bonaventnra da Siena ,- Do. Sta. Maria de' Servi Fresco.
Gregorio Do. .
>
. e )
Siena con.
Ventura Salernbeui
Matteo di Giovanni Various . La Trinita .
Raff. Yanni .
Sodona ....
Pacchiarotto . Do. . . St. Catherine of Si-
Vent. Salimbeni, &c ena (oratory) .
Sodona ....
Pacchiarotto .
Beccafumi .
Salle delle Ba
Ambrog. Lorenzetti
lestre Do. .
Palazzo Piccolo
Bernhard von Orley
mini .
j Casa Mensini
Folli Legendary
( (exterior) . j
(Do.) } . .
VlTERBO.
Franc. Romanelli
-Urban o Do. Legendary Duomo .
Marco Bcneiiiil .
VlTERBO COn.
Do. S. Ignazio .
Do.
Marcello Venusti
Do.
Sta. Mark della
.Lor. di Giac. da Yiterbo |
IV'
Verita
Baldassare Croce Palazzo Publico Do.
Caprarola.
Frederico Zuccari .
Giovanni.
Giov. da S. Giovanni Religions Cathedral Fresco.
Masaccio .... Do. . S. Lorenzo Do.
Arezzo.
r
(Sta. Maria della)
Vasari Legendary Oil.
{ Pieve
Giotto . Do. . . Cathedral . . . I Fresco.
Benvenuti .
Badi di
Padre Pozzi
\ Flora (cupola) j
Cortona.
Lnca Signorelli .
Pietro da Cortona
Luca Signorelli. .
Baroccio
Santa Marguerite
Vanni .... Legendary . 03.
Empoli ....
Unknown . Do. . . Do Fresco.
Lnca Signorelli .
Angelico da Fiesole
Pietro Panicale . Religious S. Domenico . . Oil.
Palma Giovane .
..
Cortona con.
Pietro da Cartona
Empoli .... Religious S. Agostino
Perugia.
Baroccio . . .
Pinturicchio .
Luca Signorelli .
Religious Duomo .
Giannicola
Pietro Perugino . Do. . S. Agnese
Perugino .
Taddeo Bartolo .
Benedetto Bonfigli
Giannicola Do. S. Domenico
Gian. And. Carloni S. Ercolano .
Perugino .
Legendary Do. . .
Perugino .
Vittore Pisanello
Fiorenzo da Lorenzo Do. Do.
Benedetto Bonfigli
Perugino .
Religious . Sta. Giuliana .
{ Marti re j
Aliense . .
Gimignani
Oraz. di Paris Alfani
Vent. Salimbeni
Andono Doni Do. S. Pietro de' Casi-
Raphael .
nensi . . . .
Sassoferrato
Perugino .
Fiammingo
La Spagna
Vasari . .
Do. Do.
Girolamo Danti
EXISTING MURAL DECORATION*. JsT
Perugia con.
Sassoferrato .
Paris Alfani .
Perugino .
Raphael
Caravaggio
Religious S. Pietro de* Casi- Oil.
Parmigiano
nensi .
Dosso Dossi .
Bassano
Titian . . .
Guercino .
Perugino . Do. . . Do
Perugino, assisted by)
Do. . . Sala del Cambio . Fresco.
Raphael
Perugino Legendary Casa Perugino . . Do.
S. Francesco del) ^
Perugino Religious .
Monte j
Assisi.
Cimabue
Giotto .
Giunta da Pisa
Lo Spagna
Pietro Cavallino
Puccio Capanna
Religious Sagro Convento . Fresco
Jacopo Gaddi
Giov. da Melono
Andone Doni
L'Ingegno
Giottino
Buffalmaco
Simone Memmi
Giotto or Giottino Do. Sta. Chiara . Do.
(Sta. Caterina)
Martinelli . . . Do. Do.
1 (exterior)
Matteo da Gualdo 1
Do. Do. (interior) . Do.
P. Antonio da Fuligno
Spello.
Oil.
Perugino . Religious Cathedral
Fresco.
1
Spello con.
Oil.
Pinturiccliio Religious . Cathedral
. .
Fresco.
Pinturiccliio . . Do. . . S. Lorenzo
FOLIGXO.
Perugino (?) . .
Religious The Contesse Oil.
Lod. Caracci .
Monte falco.
S. Fortunato .)
Benozzo Gozzoli . Religious
S. Francesco .
Spoleto.
Solsernus, 1220 . Religious Cathedral Mosaic.
Filippo Lippi . Do. . Do Fresco.
Lo Spagna Palazzo Publico . Do.
f Piazza della \
Crevelli Religious Do.
{ Porta Nuova j
Naeni.
Lo Spagna . . Religious Zoccolanti
PONTE MOLLE.
( Casino della Re-
Taddeo Zuccari .
Fresco.
1 verenda Camera J
EXISTING MUKAL DECORATIONS.
EOME.
12 rli cent. . . . )
Do., Ancient .
Unknown, Ancient .
Do. do.
Francesco Vanni
jGnido, after .
Canmccini, after .
Donienickino, after .
Roncalli, after
Raphael, after
Pietro Bianchi, after
Francesco Ronianelii,
after
Filippo Barigioni, after
(Pietro Cavallini .
jDomenichino, after .
I
Pietro da Cortona .
Girolamo Muziani .
Subleyra, after
jCaroselli
iPoussin .
.Lanfranco .
jGuido, after .
{Guercino, after
|Costanzi, after
Simone Memmi
.
J
St. Peter's,
Unknown, 10th cent Religions . .
( Grotte Nuove
Do. 8th do. Do. . . . Do., do. . .
the Confession]
Do., Sagrestiaj
L. Sabbatini Do.
. . . .
Commune . j
Ginlio Romano .
Do., do. dei
Do. . .
II Fattore . . . Canonici
(
Do., Chapter
Giotto Do. . .
.
{ House .
Jacopo da Tttrrita
Gaddo Gaddi Religions . Do., the Vault .
Jacopo di Camerino
Cav. d'Arpino
Do. . . Lateran, Transept.
Roncalli
Cav. d'Arpino
B. Croce .
B. Caesari .
Nogari ....
Ricci di ISTovara .
Andrea Sacchi .
Giacinto Gemignani
Religious S.GiovaneinFonte
Carlo Maratta
Andrea Camassei
Do., Chapel St.
Unknown, Tdli cent, Arabesques, &c.
John
Do.
( Oratory St. Ve
Do.
1 nantius .
j Do., Vault of
Jacobus da Turita Do. I
. . D<
I Tribune) . j
Pozzo
Cesare . Do. . . Sistine ('Impel
Nebbia, &c.
Guido .
Lanfranco .
(Do., SforzaClia-
Gir. da Sermoneta Do. . . Oil.
1 pel . . .
Do.,(Passageto
Do., 13th or 14th cent. Do. . .
Fre
Cloisters) .
Do., (Vault of
Do., 13th cent. Do. . .
j
M< -
( Tribune)
Canxuccini Do. . . Do., (Lunette) .
Podesti .
Gao-liardi
lalbi .
Boghetti
;De Sanctis Do. . .
Do Fresco.
I Consoni
Marianecci
|Marioni .
Carta
San Lorenzo,]
M
Unknown Legendary |
(Basilica) .
,
Ciro Ferri
Corbellini Religious . S. Agnese, (Piazza Pn
Baciccio Navona)
(S. Agnese fti
Unknown, 7th cent Legendary M< -
1 le Mura
Baciccio
I
Carlo Maratta
i
Odazzi . Legendary S. Andrea al Qni-
Mazzanti rinale
Boro-oo-none .
).
Lanfranco .
Jamieson .
Domenico Muratori
Baciccio Legendary, &c. SS. Apostoli . .
Benedetto Suti .
Angostino Ciampell
Do. . . . S. Bibiana
Pietro da Cortona
Gnido ....
Gherardo della Notte
Pietro da Cortona Religious The Cappuccini
Donienichino .
Andrea Camassei
Domenichino . Do. . . . Do
Do Allegorical . S. Carlo a Catinari
Guido ....
Pietro da Cortona
Legendary, &c. Do. do.
Lanfranco .
Andrea Sacchi .
Carlo Maratta
Do. . . . Do. in the Corso
Francesco Mola .
Do., (Lower
Unknown, Early Do. . .
Church) .
(SS. Cosma e
Do., 6th cent. . Do.
1 Damiano
Pinturicchio . Legendary S. Cosimato
Unknown, Early Arabesques S. Oonstanza .
Guercino, after .
Religious . S. Crisogono .
Oav. d'Arpino
Unknown, attributed) ( Santa Croce,
Legendary
to Pinturicchio . ) I
(Basilica) .
. 1
Santa ( POCe, ,,
Baklassare Peruzzi Religions
(Basilica; . )
Canuti ....
Lanfraiico .
Sisto
Romanelli .
S. Francesco)
Unknown, 9th cent. Religious Mo
Romano . I
S. Franc
Baciccio Do.
Etipa . . . i
I Roof) . . i
Capalti .
Santi di Tito
Cig-oli .
Passignani
Sal viator Rosa
Do. S. Giovanni dei Oil.
Baccio Carpi Fit
Fiorentini
Lanfranco .
Poniarancio
Tempesta .
S. Gniseppe de'\
Carlo Maratta Do Falegnami . i
Oil.
A. Sacclii .
Do S. Gregorio . . .
Do.
iLuca Signorelli
i
Fr
i Carlo Maratta
'Seb. Conca i
( S. Lorenzo I
Do. . .
Damaso
F.Zucchero .
. . )
Gnido .
Do. in Lncina
Do. . .
Marco Benefial
Pietro da Cortona Legendary Do. in Miranda . Oil.
Do. in Panis-^
Biccherai .
Perna . . >
( S. Luigi de' I
Gnido . .
Do. . .
Do. ...
294 LIST OF THE PRINCIPAL
Bassano ....
M. Angelo da Caravag- Legendary S. Luigi de Fran-
gio .... cesci.
Cav. d'Arpino Do. . . Do
Pierino del Vaga
Do. . . S. Marcello
D. da Volterra .
Domenicliino
Carlo Maratta
Romanelli .
Roncalli
Mancini
Do. S. Maria desli An-
Musciano .
geli
Bianchini .
Constanzi .
P. Battoni .
Subleyras .
Odazzi .
Trevisani .
Sta. Maria di
Pinturicchio . Legendary
Ara Cceli
Fran, da Citta di Cas-
tello Do. . . Do. do., (roof) .
Luca Signorelli .
Antony)
Rossetti .... Do. . . S. Maria di Lore to
Musciano ....
(
'esare Nebbia
Filippino I j i
j > ]
>I .
Delia Navicella .
Maria della
Unknown, 9th cent. Religious .
I Navicella.
Tiuldeo and Pietro Do. and Le-
dell' Orto
Zucchero gendary .
Nic. da Pesaro .
cheros . .
Francesco Yanni
Morandi
Albano ....
Passio'nani Do. . . Do. do. I),..
Lavinia Fontana
C. Casi ....
Sicciolante Do. . . Do. do., (Chapel) Do.
Baldassare Pemzzi
Pintnricchio . Legendary Do. del Popolo .
D .
Carlo Maratta
Daniele .... Do. . . Do. do., (Cibo Oil.
Morandi Chapel)
(Do. do., (Chapel)
Pinturicchio Do. . . >co.
1 Virgin) . .
Lodovico di Pace, )
f Do. do., (Vault]
Do. . .
tevere . .
I
Palma Yecchio .
Do. . .
Do. dei Crociferi Oil.
IIBolognese
Pietro da Cortona Do. . .
Do. in Yallieella
M. A. Caravasfo-io
a ) .
Cav. d'Arpino
Carlo Marat t Maria in Valli-
Religious S. Oil.
Rubens . . .
cella
Baroccio
Guido, after . Do. Do. do. . . Mosaic.
Do. do., roof,) i
Stellaert, attributed }
Do. Do., (next Chapel) Oil.
to Van Dyck . . )
(Santi Quattero
Giov. di S. Giovanni Legendary Do.
I Incoronati . )
S. Silvestro al
Domenichino . Religious .
I
Fresco.
Quirinale j .
Scipione Gaetani
Ricci da Messina
Cav. d'Arpino
Do. Do. do. Oil.
Polidoro da Carava
Fresco.
gio . . . .
Matnrino .
C. Nebbia . . .
Monti
Pierino del Yaga
Salviati
Veit, and pupils of Do. do. ...
Do. [)...
Overbeck .
Gnido ....
Cav. d'Arpino Do. Do. de Pelle-
Borgonone grini
Tad. & Fred. Zncchero
Vasari . Historical Do. Scala Regia Fresco.
Giuseppe Porta
.
Lucca Signorelli . .
Sandro Botticelli
Cosimo Rosselli . .
Religious La Trinita Capella Fresco.
Perugino .
|
Sistina
Dom. Ghirlandajo .
Franco Salviati / . .
pella Sistina) [
Sodona
Pierino del Yaga
Giovanni da Udine .
Prancesco Penni
Raffaele del Colle .
Raphael ....
G. da Udine . Do. Sala degli Do.
The Zuccheri Chiaroscuri
Do., (Capella di)
Fra Angelico . Legendary . Do.
San Lorenzo)
....
j
Painters' Names.
300 LIST OF THE PKINCIPAL
| Palazzo Rospig-
Paul Brill Fresco.
( liosi .
Camuccini
Pelagi .
Do. Torlonia.
Landi .
Overbeck
Ph. Veit Religious House of the Zuc- Fresco.
W. Schadow cheri
P. Cornelius
Mengs . .
Classical Villa Albani . , Do.
Guercino .
Ph. Veit
Schnorr Poetic Do. Massimo Do.
Overbeck
Fiirich .
Tivoli.
Grotto Ferrata.
Unknown .
Religious . S.Basilio(Convent) Mosaic.
Donienichino .
Legendary Do., do. .Fresco.
Poll
Romano
Giulio Villa Catana Fresco.
Unknown . Religious Sta. Maria . Do.
Velletrl
Cathedral (pe-
Perugino, School of. Religious . Fresco.
rishing) .
Giov. Balducci . .
Legendary Do. . . . Oil.
Monte Casino.
Monastery (Sub-
Marco da Siena .
pel, decaying)
EXISTING MURAL DECOKATIO :;ul
Painters' Names.
. . |
Micheli di Napoli .
Do. do.
Historical
Guiseppe Mancinelli
Francesco Curia . .
Francesco Sinione .
Seb. Conca . . .
Do.
Various . Do.
Francesco di Mura .
Bonito
Do., Sanfelice \
Lanfranco .... Religious .
(Chapel) J .
Lnca Giordano .
Cesare Fracanzano
Roncalli
Santafede .
Gnido ....
L. Giordano '.
Corenzio Oil.
Gessi .... Do. Do. (Chapels) |
1 Fresco.
Pietro da Cortona
Spagnoletto .
Marco da Siena .
Domenichino .
Tintoretto .
.
Bassano
Andrea di Salerno
Mignard OiL
Religious S.Filippo,(Clia]
Palma Vecchio
Cav. d'Arpino
S. Francesco di
Camuccini . Legendary Oil.
Paola . . j
Solimena .
Marco da Siena
Solimena .
Stanzioni .
Yasari . .
S. Guiseppe a)
Molinari Legendary . Oil.
Chiaja . . i
L. Giordano .
Bernardo Lama
Religious . . S. Gregorio Ar- Oil.
Pacecco de Rosa
meno Frea
Spagnoletto .
mmziata
Corenzio Do. do., (Sacristy) Fresco.
Criscuolo . Do. Donna Re-
Religious Do.
L. Giordano
.
gina ... i
.
( S.Maria Donna)
Micco Spadaro . Religions .
Romita j
( . .
zie, &c. .
Santafede .
Araato il Vecchio
Do. . . Do. do.
Marco da Siena .
t of do.) ) . .
.
. {
D
Coeli
E g!m
: }
F
Bernardino Siciliano Do. della Sanita
Vaccaro, &c. .
Corenzio
Carlo Maratta
De Matteis . . Do. Do., do. Do.
Stahzioni .
Annibale Caracci
Solimena . Do. Do., do. . Do.
Finoglia
EXISTING MIKAL DECOK\
Parhecco di Rosa
La Mnra
Do. Do. do. Do,
Btanzioni .
Caiacciolo .
Corenzio
Do. Do. do. Do.
De Matteis
Cav. d'Arpino
Stanzioni .
Michelangelo da
ravaggio
Spagnoletto .
Corenzio
Finaglia
Do. Do. (Chapter
Stanzioni .
Ho,:
Luca Cambiaso Do. (del Coll' -
f .p.
Avanzino . Legendary j
> v Do.
Carava^'gio
Santafede .
( Do. (d'Aval
Santafede . Legendary
Chapel) . .
f Do. f
i
to Sacristy)
|
S. Pietro ad
Protasio Crivello, 1 180 Do. Oil.
.
Aram do.
Cav. Calabrese Legendary Do. a Maiella
De Matteis Do. do. (Ch 1) ,
Sckeffer
Corenzio Religious SS. Severino t Do.
i Marco da Siena sio
Criscnolo
! .
x
306 LIST OF THE PRINCIPAL
Painters' Names.
. )1
GERMANY.
Painters' Names. Kind of Subject. Locality.
Munich.
(Alleheilige Ka-
Heinrich Hess, assis-\
r t pelle, and
ted by Shraudolph -
.
NewPinakothek
Herr von Kanlbach Yarions Do.
(Exterior) . f
Kanlbach .
Foerster
Zimmermann
Rochel . .
Stiirmer
Herrmann .
Berlin.
Schinkel,aft. designs by Classical . Portico Museum -co.
DUSSELDORF.
Veit Historical Museum . Fresco.
Cologne.
Steinle Religions Cathedral Fresco.
308 LIST OF THE PRINCIPAL
Appolixaeisberg
Deeger ....
Ittenbach . Religious St. Appolinaris Fresco.
Miiller, <tc, &c. .
Aix-La- Chapelle
Rethel .... Historical Rathaus . Do.
,
FllAXCE.
Zieg-ler .
Abel de Pujol
Sclmetz .
Do Madeleine . Wax.
Signol .
Delaroche .
Couderc
St. Severin
Flandrin Do. (Chapel St. -
Fi
John) J . .
Orsel
Perrin . Do Notre Dame de Do.
Royer . Lorette
Lusson .
Ornamental Sainte Chapelle . Temper.
Violet Due.
le
Abel de Pujol
Decaisne Religious . St. Paul, St. Louis Fresco.
Valbrun
(Saint-Rocli(Cu-
Pierre Do. . .
( pola) . . .
Abel de Pujol
Guillemot .
Blondel
Saint - Jacqnes
Lesueur Allegorical .
du Haut-Pas
.. 1)
Greuze .
Saint- Laurent
Religious . .
Frezel . .
Phillipe de Champagne
Delaval .
Picot
Saint- Leu
. .
Do. . . . Oil.
Decaisne .
Dep-eorges .
Monvoisin .
Vauttier
Mignard
Ant. Coypel
Perron .
Simon Vouet
Lemoine
Halle . .
Brunetti
Wafflard .
Lebrun .
donnet
Lesueur
Mignard
Notre-Dame de^
C. Lebrun Do. l'Abbayc-aux- Do.
bois . . . j
Vanloo .
Painters' Names.
312 LIST OF THE PKINCIPAL
ENGLAND.
Painters' Names. Kind of Subject. Locality. Methods.
(Chapel Royal)
Sir Peter Paul Rubens Allegorical Oil.
1 Whitehall J .
Greenwich Hos-
(Allegorical ]
pital j
Houses of Par
C. W. Cope, R.A. Historical
liament .
Do.
W. Dyce, R.A. Do. . . Do. (retouched) Do.
J. R. Herbert, R.A. Do. . . Do. ... . Do.
D. Maclise, R.A. Do. . . Do. Do.
E. M. Ward, R.A. . Do. . . Do. Do.
G. F. Watts, R.A. . Poetical . Do. Do.
E. Armitage, A. R.A. Do. . . Do. Do.
J. C. Horsley, A. R.A. Do. . . Do. Do.
J. Tenniel .... Do. . . Do. Do.
(Death of ISTel-j
f
son, and The Water-
D. Maclise, R.A. Historical
-Meeting at i glass.
:
Waterloo) .
( Catholic Chapel,
( Religious . Fresco.
1 Islington .
E. Armitage, A. R.A.
f University Hall,
i Historical . Do.
1 Gordon Sq.
[All Saints, Mar-]
W. Dyce, R.A. Do. . . .
j
garet Street Y Do.
1 (retouched)
(St. Paul's (Spun
Stephens, after . Do. . . . Mosaic.
I dril) . . .
Painters' Names.
314 LIST OF THE PRINCIPAL MURAL DECORATIONS.
Painters' Names.
CONCLUDING REMARKS
Fresco had the testimony of the Great Masters and the centuri-
its favour.
FINIS.
ma
. . ^T'
S -
jffilPW