Cennino d’Andrea Cennini’s Size

Below is an excerpt from “The Craftsman’s Handbook” – D. V. Thompson’s English translation of “Il Libro dell’Arte,” an intriguing guide to methods of painting written in the 15th century Florence. Page 68.

“A size which is good for tempering blues and other colors.  Chapter CXI.

And there is a size which is made from the scrapings of goat or sheep parchment.  Boil them with clear (or light-colored) water until it is reduced to a third.  Know that it is a very clear size, which looks like crystal.  It is good for tempering dark blues.  And apply a coat of this size in any place were you have happened to lay in colors which were not tempered sufficiently, and it will re-temper the colors, and reinforce them, so that you may varnish them at will, if they are on panel; and blues on a wall the same way.  And it would be good for tempering gessos too; but it is lean in character, and it ought to be rather fat for any gesso which has to take gilding.”

What I find interesting with this is addressing the idea of colors dusting, or not being stable enough for a top coat to varnish.  In other words, the unstable colors would smear onto the rest of a composition.  This is similar to my process during scenery restoration.  The dusting pigment needs to be “re-tempered.” Cennini writes, “apply a coat of this size in any place were you have happened to lay in colors which were not tempered sufficiently.”  I spray a solution of size to stabilize the colors on the backdrop. The glue attaches loose pigment back to the surface of the fabric.  It is crucial that you get the perfect strength, however, or it can make the surface shine and brittle.

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Here is an example of pigment dusting…I apologize about the photo quality.

And to end with the following chapter in “The Craftsman’s Handbook” that made me grin….titled: “To make a glue out of lime and cheese.  Chapter CXII”

“There is a glue used by workers in wood; this is made of cheese.   After putting it to soak in water, work it over with a little quicklime using a ittle board with both hands.  Put it between the boards; it joins them and fastens them together well.  And let this suffice you for the making of various kinds of glue.”

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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