A dictionary of architecture and building : biographical, historical, and descriptive . anilajo inFlorence, in fact of the typical fifteenth centurywall painting of central Italy. We have saidthat the Tuscan realists and idealists alike inthe fifteenth century detracted from the flatnessand simplicity of their work by complicationand overloading. The great Tuscans and Umbrians of the cumu-lative period, the beginning of the sixteenthcentury, had learned the lesson of all this ; theysimplified their anatomy, treating the body more993 MURAL PAINTING freely, rejected mudi cjf the decorative detai
A dictionary of architecture and building : biographical, historical, and descriptive . anilajo inFlorence, in fact of the typical fifteenth centurywall painting of central Italy. We have saidthat the Tuscan realists and idealists alike inthe fifteenth century detracted from the flatnessand simplicity of their work by complicationand overloading. The great Tuscans and Umbrians of the cumu-lative period, the beginning of the sixteenthcentury, had learned the lesson of all this ; theysimplified their anatomy, treating the body more993 MURAL PAINTING freely, rejected mudi cjf the decorative detail,and liaphael in his Stanze of the Vatican saidthe ultimate word in monumental mural paint-ing. With all of these men fresco was themedium used, and fresco is the ideal mediumfor the decorator, since there is a sort of silverygrayncss inherent in it wliich keeps the W(nkupon the surface of tlie wall. As an instance of this difference between truefresco and other media, compare Andrea delSartos frc-!co(s in tlie p(nticci of the Amiunziataof Florence with the beautifid fiieze painted. McitAL Painting: Part of Trifohiim ok Nave ofS. ;sco at AsSiSi. by Carpaccio in the little church of S. Giorgiodegli Schiavoni at Venice. In the cycle of An-drea both linear and atmospheric pers])ective areadecjuate, and the composition is tilled witiiobjects upon many ilifterent atmospheric- i)lanes ;nevertheless there is a certain mural flatnessabout it all largely due to the medium, fresco,and (littering widely from the atmospheric deptiigiven by Carpaccio to, for instance, his studychamber of S. Jerome, in the S. Giorgio period of the change of medium from frescoto oil coincided with an architectural change in994 MURAL PAINTING rooms. Tlicro liad always been some flat ceil-ings in Tuseaiiy, but large rooms were usuallyvaulted; now even great halls received the beamedceilings with caissons. Por a wiiile the mouldingsof su(h were <lelicate and suited to a flat treat-ment of
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