The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1896-05-14
FRESC0,

Glrls ne - ''lo plus Sp1rlte deo pelntre0.
MARY d. MASON.
FRESC0.
II is curious to observe how the world
seems to move in cycles In certain
phases Of its development. We per-
suade ourselves that we have discov-
cred entirely new principles Of con-
struction, only to find that the Egyp-
tians understood them perfectly thou
sands of years ago: for a time we en-
Joy the delusion that we have invented
a most remarkable and beautiful pro-
cess In glass making. but the exultation
Is short-lived: the Phoenicians were
long ago possessed Of that secret. And
SO in many instances do We find that
inclination Of the human mind to re-
turn to the methods Of long by-past
times, either by an unconscious evolu-
tion, as In the examples cited, or in
spired and persuaded by the works Of
antiquity.
To the artists Of the great italian
renaissance, art meant always the
beautifying Of what was useful. what
ever that might be. Rarely was a
picture painted that did not decorate
particular wall space or adorn g. chos-
en- altar. Thus an entire church or an
entire palace became work Of art,
and the artists had no fear that his
work would be viewed, and therefore
misjudged, except in the place where
he had painted 1t. But time changes all
things. Through various chances these
noble works have been removed from
their original places to our present
day galleries, where they must suffer
from the unusual light or the Juxtaposi-
tion Of inharmonious subjects or COL
orings. 1t may have been the fortu-
nate disposition of some of these, which
persuaded succeeding artists that the
proper sphere Of painting was not dec
Grafton, but an independent art, and
in consequence Of this reversion Of feel
ing the world has been overrun with
easel pictures excellent in themselves,
but suffering immeasurably from their
hanging. q misfortune which can sell
dom be avoided. But now we have
come to the other end Of this cycle. and
find that some Of the greatest artists
| Of the present day claim again for dec
orator. that It is the highest art Of
all, and are returning to the simplicity,
breadth and dignity Of the great fresco
painters Of long ago.
JG0S Or II tSILONOs
All mural paintings are not frescoes,
but since the latter term has been so
generally adopted as a synonym for the
former, we feel that we have q right
to use II an the title of an article.
other than pure fresco. A true fresco.
as the derivation Of the word from fres-
ca, meaning fresh, will'show. is O paint
Ing done on fresh plaster. OF necessity
the only pigments available are such as
will resist the action Of the lime, and the
work must be done rapidly. before the
plaster shall have chance to dry. At
the end Of the day, what plaster has not
been used Is removed, and is replaced
next morning by q fresh layer Of in
tonaco. as It is called. The only pro-
cess Of retouchiny available In pure
flesco being the cutting away OF the
plaster and doing the work entirely
over, most artists have resorted for this
purpose to the use Of tempera, In which
case, the pigments being mixed with
glue or white of eggs could be applied
to a dry ground. This combination
Of methods enlarged the palette Of the
fresco painter, but time has not al
ways been 50 kind to colors in tenn
pera as to those in buon fresco. This
will account for the various black Ma
donnas and saints and for such an ex-
ample as appears in Cimabue's Marriage
Of Cana in Galilee, where the table
cloth. once white. Is now intensely black
while the plates. viands and vases upon
It, which were done In pure fresco. are
unchanged in color.
REvERSION OF THE MODERN
SCHOOLS.
A few artists Of the present day have
attempted to return to tho methods OF
the Renaissance, but under what dis
advantages Of poorly constructed walls
and unfavorable climates. the expert
ments at the Houses Of Parliament,
where the paintings have had to be
placed under glass. and In our own
capital at Albany, where William
Hunts admirable frescoes have suf-
fered q similar fate, give proof. But
fortunately the principles of art do
not so readily elude the searcher af-
ter ideals as do its processes, and we
are glad to see again a growing ap-
probation Of the highest sphere of
painting, and Of the characteristics,
which properly belong to that sphere.
What nobler use of the artists facul-
ties than the adorning Of our temples
Of learning, government and religion?
INTERESTING AND NOTABLE Elk
AMPLES.
The two decorative painters Of the
present day, to whom may be accorded
the highest rank. are Paul Baudry and
Puvis de Chavannes. Some have con-
sidered the work of Baudry in the foy-
er OF the Paris Opera house to be the
capital decorative work Of this CEN
tury," but our own interest in Puvis de
Chavannes may be quickened by the
thought that this country is at last
fortunate enough to possess an example
Of his mastery work, the decoration fol
the grand stairway of the Boston Pub
lie library. That portion already in
position represents an allegorical scene
the MUSES. hailing Genius. Borne to-
| ward US upon the clouds from the upper
| center Of the picture, Genius appears as
| O. cOmely youth with arms appraised as
II to draw down light from above. Be-
low, from the grove Of pale green sap.
lings, which borders the sea, the white.
robed MUSES. rise or rather float, with
buoyant, rhythmic motion to greet the
Messenger of Enlightenment Except
for the two figures necessitated by the
doorway, the one representing Study
the other Contemplation, this Is all
The composition is perfectly simple, az
is also. the color scheme of blue, white
and pale green. At first view, the
painting may seem cold, fiat and unin.
teresting In comparison to the more
splendid and complicated History OF ths
Religions Of the World by Sargent In
the upper hall, or the richly colored and
romantic illustration Of the Legend o.
the Holy Grail by Abbey, In the de.
livery room. Further study may con.
vince VI that the French artiat under.