Abstract
It is generally thought that in Western Europe and at the end of the medieval period, tempera paint with oil as a medium was applied to dry plaster walls because the Roman technique for painting on wet plaster (al fresco) had been forgotten. Texts such as the Libro dell'Arte by Cennino Cennini discuss the recovery of the fresco technique by some of the founding painters of the Italian Renaissance, such as Giotto. From Renaissance Italy, it is argued, the technique expanded to the rest of Europe. However, in medieval Hispanic monuments with Islamic iconography there is evidence of painted fresco decoration dated prior to the fifteenth century. This paper studies the sources of this technical tradition by analysing examples of Iberian, Roman, Islamic, Mudejar and Morisco mural painting.
Highlights
This paper studies the sources of this technical tradition by analysing examples of Iberian, Roman, Islamic, Mudejar and Morisco mural painting
IV ^5^ por su gran similitud con losfi*agmentosconservados en Granada, procedentes de Madïnat Ilbîra; y, en la provincia de Soria, la torre de Vildé, donde sobre un mortero de cal y arena se extiende una decoración muy sencilla de línea roja formando octógonos que nos recuerda el «tirar cintas» islámico y «de lo morisco» ^6
Summary
La técnica descrita en los textos de las excavaciones arqueológicas citadas pudiera corresponder a la del fresco: sobre muros de adobe muy degradado o tapial, se extendió una fina capa de cal, donde se situaron dibujos geométricos realizados a la almagra (óxido de hierro). Vitrubio recomienda para la pintura mural preparar el muro con hasta siete capas de mortero: la primera, la trusilación para enrasar las paredes, tres interiores, arenatos, de composición de cal y arena y tres exteriores, de estuco (intonaco).
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