While visiting the Spanish Steps in Rome, we also visited the Trinita die Monti. In the chapel, one can find eight side altars by different artists. The most famous are the altars in the church are by Voterra. For our first assignment, we are to select a piece of are and discuss an element of the work; therefore, this writing discusses the composition of the frescoes around the altar. I am selecting a painting at the first altar to the right of the main altar in the church. Since the photographer of the camera did not get the title of this altar, I'll explain that the altar belonged to Pierre Maciac, "the canon of Besacon, since 1534" Trinita dei Monti). After the death of Maciac, the altar was decorated.
According to the information in the chapel, the walls consist of "a cycle of frescoes." The wall over the altar portrays the Storie of Christ and a Nativity. This information also states that the art work over the altar is "a false structure with two columns supporting an entablature." The word entablature is translated into intavoltura in Italian, and it refers to the "superstructure of moldings and bands which lie horizontally on columns and their capitals" (Wikipedia). Capitals come in three designs: Doric, Ionic, and Corinthian.
Fesco/es according to Wikipedia, are several "related painting types" usually found on walls and ceilings and done on plaster (intonaco, It.). There are three types of fescoes: Buon Fresco, Secco, and Mezzo-fresco. Buon fresco is also referred to as painting in pigment. To paint buon fresco, the painting pigment is mixed with water on fresh, new lime mortar or plaster that is thin. In contrast, secco (dry, It.) is done on a dry plaster and needs a medium that will bind it to a wall. Egg, glue or oil can be used as a binding medium to keep the paint in place. The last form of fresco, mezzo-fresco, requires a nearly-dry plaster and the pigment slightly penetrates into the plaster. Due to the advantages of mezzo-fresco, this technique makes buon fesco less popular. There are several advantages of mezzo-fresco. First, it is a quicker technique; second, it is more forgiving when it comes to mistakes because they can be corrected; thirdly, the color of the pigment only soaks slightly into the intonaco; and finally, the colors tend to be more consistent. The artist name
is unknown.
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Hi Pam,
ReplyDeleteIt sounds like you had an interesting day. The frescoes sound like quite a complicated procedure to make, but I'm sure they're beautiful. It is amazing what kind of art other people can create. I wish I had that kind of patience and talent. I can craft, but art is something else.
I'm getting ready to video tape the lesson I am teaching next Tuesday. I'm trying to make a reader's theater of MacBeth. I found a kid's version of the play and am going to cut and paste to get it the way I want it. I checked out a camera from Dr. Mumford and will practice with it tomorrow so I know how to work it on Tuesday. The kids in the class should enjoy that. They are a lively group of 8th graders.
Hope you have a great evening -
Melinda
Hi Pam, I am assuming you wanted this blog to cover HUM 225 assignments. Be sure to label your blogs with the course and week. Thanks. Good work on the description of the fresco technique. Be sure to check over your blog before you post.
ReplyDeletePam, i really like the details of what this alter is about. I'm pretty sure I saw the alter, but did not know anything about it, and I am really glad I read your blog to find out!
ReplyDeletePam, I enjoyed your through explanation of what this painting is all about. It is nice to know more about the painting than just its depiction. Style and technique are very important in different time periods so its good to have a knowledge of how it was made.
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