Note 201 — Chapter VI · (XX.)

Tempera painting has had a far longer history and more extensive use than any other kind. The technique predominated for all kinds of painting among the older Oriental peoples and in classical lands, and was in use both on walls and on panels in Western Europe north of the Alps during the whole mediaeval period, while south of the Alps and at Byzantium it was to a great extent superseded for mural painting by fresco, but remained in fashion for panels till the end of the fifteenth century. After the fifteenth century the oil medium, as Vasari remarks, superseded it entirely for portable pictures, and partly for work on walls and ceilings, but in our own time there has been a partial revival of the old technique. See Note on ‘Tempera Painting,’ postea, p. 291.

The whole question of the different vehicles and methods used in painting at various periods is a difficult and complicated one, and too often chemical analysis fails to give satisfactory results owing to the small amount of material available for experiment. Berger, in his Beiträge zur Entwicklungs-Geschichte der Maltechnik, an unfinished work that has already run to a thousand pages, goes elaborately into the subject, but has to admit that many points are still doubtful. It makes comparatively little difference what particular medium is used in tempera painting, but it is of great importance to decide whether a particular class of work is in tempera or in fresco. In connection with this Berger has reopened the old controversy as to the technique of Pompeian wall paintings, which have been accepted as frescoes, on the authority of Otto Dönner, for a generation past. There are difficulties about Pompeian work and it is well that the question has again been raised, but Berger goes much too far when he attempts to deny to the ancients the knowledge and use of the fresco process. The evidence on this point of Vitruvius is quite decisive, as he, and Pliny after him, refer to the process of painting on wet plaster in the most unmistakeable terms. See Note on ‘Fresco Painting, postea, p. 287.