Vasari on technique
★4.1/5
Listen FreeFree AI audiobook with natural voice. No signup required.
About This Book
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republ...
Chapters (501)(click to expand)
- VASARI ON TECHNIQUE BEING THE INTRODUCTION TO THE THREE ARTS OF DESIGN, ARCHITECTURE, SCULPTURE AND PAINTING, PREFIXED TO THE LIVES OF THE MOST EXCELLENT PAINTERS, SCULPTORS AND ARCHITECTS
- PREFATORY NOTE
- TABLE OF CONTENTS
- LIST OF ILLUSTRATIONS
- INTRODUCTORY ESSAY
- OF ARCHITECTURE
- CHAPTER I.
- § 1. The author’s object in the Discussion of Architecture.
- § 2. Of the working of hard stones, and first of Porphyry.
- § 3. Of Serpentine.
- § 4. Of Cipollaccio.
- § 5. Of Breccia (‘Mischio,’ Conglomerate).
- § 6. Of Granite.
- § 7. Of Paragon (Touchstone).[48]
- § 8. Of Transparent Marbles for filling window openings.
- § 9. Of Statuary Marbles.
- § 10. Of Cipollino Marble.[72]
- § 11. Of White Pisan Marble.
- § 12. Of Travertine.
- § 13. Of Slates.
- § 14. Of Peperino.[91]
- § 15. Of the Stone from Istria.[92]
- § 16. Of Pietra Serena.
- § 17. Of Pietra Forte.[102]
- § 18. Conclusion of Chapter.
- CHAPTER II.
- § 19. The work of the Mason.
- CHAPTER III.
- § 20. Rusticated masonry and the Tuscan Order.
- § 21. The Doric Order.
- § 22. A constructive device to avoid charging architraves.[113]
- § 23. The proportions and parts of the Doric Order.
- § 24. The Ionic Order.
- § 25. The Corinthian Order.
- § 26. The Composite Order.
- § 27. Of Terminal Figures.
- § 28. German Work (the Gothic Style).
- CHAPTER IV.
- § 29. The Construction of enriched Stucco Vaults.
- § 30. Stucco made with Marble Dust.
- CHAPTER V.
- § 31. Grottoes and Fountains of ‘Rocaille’ work.
- CHAPTER VI.
- § 32. Mosaic Pavements.
- § 33. Pictorial Mosaics for Walls, etc.
- CHAPTER VII.
- § 34. The principles of Planning and Design.
- § 35. An ideal Palace.
- NOTES ON ‘INTRODUCTION’ TO ARCHITECTURE
- PORPHYRY AND PORPHYRY QUARRIES.
- THE SASSI, DELLA VALLE, AND OTHER COLLECTIONS OF ANTIQUES OF THE EARLY PART OF THE SIXTEENTH CENTURY.
- THE PORPHYRY TAZZA OF THE SALA ROTONDA OF THE VATICAN.
- FRANCESCO DEL TADDA, AND THE REVIVAL OF SCULPTURE IN PORPHYRY.
- THE CORTILE OF THE BELVEDERE IN THE VATICAN, IN THE SIXTEENTH CENTURY.
- PARAGON (TOUCHSTONE) AND OTHER STONES ASSOCIATED WITH IT BY VASARI.
- TUSCAN MARBLE QUARRIES.
- THE ROUND TEMPLE ON THE PIAZZA S. LUIGI DEI FRANCESI, AND ‘MAESTRO GIAN.’
- LIST OF TUSCAN MARBLE QUARRIES WITH THEIR PRODUCTS, AS FAR AS THESE ARE MENTIONED BY VASARI.
- RUSTICATED MASONRY.
- VASARI’S OPINION ON MEDIAEVAL ARCHITECTURE.
- EGG-SHELL MOSAIC.
- IDEAL ARCHITECTURE; AN IDEAL PALACE.
- OF SCULPTURE
- CHAPTER I. (VIII.)
- § 36. The Nature of Sculpture.
- § 37. Qualities necessary for Work in the Round.
- § 38. Works of Sculpture should be treated with a view to their destined position.
- § 39. The Proportions of the Human Figure.
- § 40. Artists must depend on their Judgement rather than on the Measuring Rule.
- CHAPTER II. (IX.)
- § 41. The small Sketch-Model in Wax or Clay.
- § 42. The Preparation of Wax.
- § 43. Polychrome Wax Effigies.[156]
- § 44. The Manipulation of Wax over an Armature.
- § 45. The Small Model in Clay.
- § 46. The Full-sized Model in Clay.
- § 47. Drapery on the Clay Model.
- § 48. Transference of the Full-sized Model to the Marble Block.
- § 49. Danger of dispensing with the Full-sized Model.
- § 50. The Tools and Materials used in Marble Carving.
- CHAPTER III. (X.)
- § 51. The Origin of Reliefs.
- § 52. Pictorial or Perspective Reliefs.
- § 53. Low Reliefs (Bassi Rilievi).
- § 54. Flat Reliefs (Stiacciati Rilievi).
- CHAPTER IV. (XI.)
- § 55. The Full-sized Model for Bronze.
- § 56. The Piece-Mould in Plaster.
- § 57. The Construction of the Core.
- § 58. The Piece-Mould lined with a Skin of Wax.
- § 59. This Skin of Wax applied over the Core.
- § 60. The fire-resisting Envelope applied over the Wax.
- § 61. The External Armature.
- § 62. The Vents.
- § 63. The Wax melted out.
- § 64. The Mould in the Casting-pit.
- § 65. The Composition of the Bronze.
- § 66. Making up Imperfections.
- § 67. A simpler Method of Casting small Figures and Reliefs.
- § 68. Chasing the Cast and Colouring the Bronze.
- § 69. Modern Tours de Force in small Castings.
- CHAPTER V. (XII.)
- § 70. The Fabrication of Matrices for Medals.
- § 71. The Cutting of Intaglios and Cameos.
- CHAPTER VI. (XIII.)
- § 72. Modelled and stamped Plaster Work.
- CHAPTER VII. (XIV.)
- § 73. Wood Carving.
- NOTES ON ‘INTRODUCTION’ TO SCULPTURE
- THE NATURE OF SCULPTURE.
- SCULPTURE TREATED FOR POSITION.
- WAXEN EFFIGIES AND MEDALLIONS.
- PROPORTIONATE ENLARGEMENT.
- THE USE OF FULL-SIZED MODELS.
- ITALIAN AND GREEK RELIEFS.
- THE PROCESSES OF THE BRONZE FOUNDER.
- OF PAINTING
- CHAPTER I. (XV.)
- § 74. The Nature and Materials of Design or Drawing.[186]
- § 75. Use of Design (or Drawing) in the Various Arts.
- § 76. Of the Nature of Painting.
- CHAPTER II. (XVI.)
- § 77. Sketches, Drawings, and Cartoons of different kinds.
- § 78. The Use of Cartoons in Mural and Panel Painting.
- CHAPTER III. (XVII.)
- § 79. Foreshortenings.
- CHAPTER IV. (XVIII.)
- § 80. On Colouring.
- CHAPTER V. (XIX.)
- § 81. The Fresco process.
- CHAPTER VI. (XX.)
- § 82. Painting in Tempera.
- CHAPTER VII. (XXI.)
- § 83. Oil Painting, its Discovery and Early History.
- § 84. How to Prime the Panel or Canvas.
- § 85. Drawing, by transfer or directly.
- CHAPTER VIII. (XXII.)
- § 86. Mural Painting in Oil.
- § 87. Vasari’s own Method.
- CHAPTER IX. (XXIII.)
- § 88. Painting on Canvas.[218]
- CHAPTER X. (XXIV.)
- § 89. Oil painting on Stone.
- CHAPTER XI. (XXV.)
- § 90. Imitative Paintings for Decorations.
- CHAPTER XII. (XXVI.)
- § 91. Sgraffito-work.
- § 92. Grotesques, or Fanciful Devices, painted or modelled on Walls.[231]
- CHAPTER XIII. (XXVII.)
- CHAPTER XIV. (XXVIII.)
- § 93. Methods of Gilding.
- CHAPTER XV. (XXIX.)
- § 94. Glass Mosaics.
- § 95. The Preparation of the Mosaic Cubes.
- § 96. The Fixing of the Mosaic Cubes.
- CHAPTER XVI. (XXX.)
- § 97. Pavements in Marble Mosaic and Monochrome.
- § 98. Pavements in Variegated Tiles.
- § 99. Pavements in Breccia Marble.
- CHAPTER XVII. (XXXI.)
- § 100. Inlays in Wood.
- CHAPTER XVIII. (XXXII.)
- § 101. Stained Glass Windows; their Origin and History.
- § 102. The Technique of the Stained Glass Window.[271]
- CHAPTER XIX. (XXXIII.)
- § 103. Niello Work.
- § 104. The Origin of Engraving.
- § 105. Enamels over Reliefs.
- CHAPTER XX. (XXXIV.)
- § 106. Metal Inlays.
- CHAPTER XXI. (XXXV.)
- § 107. Chiaroscuro Wood Engravings.
- § 108. Dependence on Design of the Decorative Arts.
- NOTES ON ‘INTRODUCTION’ TO PAINTING
- FRESCO PAINTING.
- TEMPERA PAINTING.
- OIL PAINTING.
- ENRICHED FAÇADES.
- STUCCO ‘GROTESQUES.’
- TARSIA WORK, OR WOOD INLAYS.
- THE STAINED GLASS WINDOW.
- VASARI’S DESCRIPTION OF ENAMEL WORK.
- INDEX
- vii
- viii
- ix
- xi
- xii
- xiii
- xiv
- xv
- xvi
- xvii
- xviii
- xix
- xxi
- xxii
- xxiii
- xxiv
- 1
- 2
- 3
- 4
- 5
- 6
- 7
- 8
- 9
- 10
- 11
- 12
- 13
- 14
- 16
- 17
- 18
- 19
- 20
- 21
- 22
- 23
- 25
- 26
- 27
- 28
- 29
- 30
- 31
- 32
- 33
- 34
- 35
- 36
- 37
- 38
- 39
- 40
- 41
- 42
- 43
- 44
- 45
- 46
- 47
- 48
- 49
- 50
- 51
- 52
- 53
- 54
- 55
- 56
- 57
- 58
- 59
- 60
- 61
- 62
- 63
- 64
- 65
- 66
- 67
- 68
- 69
- 70
- 71
- 72
- 73
- 74
- 75
- 76
- 77
- 78
- 79
- 80
- 81
- 82
- 83
- 84
- 85
- 86
- 87
- 88
- 89
- 90
- 91
- 92
- 94
- 95
- 96
- 97
- 98
- 99
- 101
- 104
- 105
- 106
- 107
- 108
- 110
- 111
- 112
- 114
- 115
- 116
- 117
- 118
- 119
- 120
- 121
- 122
- 124
- 125
- 126
- 127
- 128
- 129
- 130
- 131
- 132
- 133
- 134
- 135
- 136
- 137
- 138
- 139
- 140
- 141
- 143
- 144
- 145
- 146
- 147
- 148
- 149
- 150
- 151
- 152
- 153
- 154
- 155
- 156
- 157
- 158
- 159
- 160
- 161
- 162
- 163
- 164
- 165
- 166
- 167
- 168
- 169
- 170
- 171
- 172
- 173
- 174
- 175
- 176
- 177
- 179
- 180
- 181
- 182
- 183
- 184
- 185
- 186
- 187
- 188
- 189
- 191
- 193
- 194
- 195
- 196
- 197
- 198
- 200
- 201
- 202
- 203
- 205
- 206
- 207
- 208
- 209
- 211
- 212
- 213
- 214
- 215
- 216
- 217
- 218
- 219
- 220
- 221
- 222
- 223
- 224
- 225
- 226
- 227
- 228
- 229
- 230
- 231
- 232
- 233
- 234
- 236
- 237
- 238
- 239
- 240
- 241
- 242
- 243
- 244
- 246
- 247
- 248
- 249
- 250
- 251
- 252
- 253
- 254
- 255
- 256
- 257
- 258
- 259
- 260
- 261
- 262
- 263
- 264
- 265
- 266
- 267
- 268
- 269
- 270
- 271
- 272
- 273
- 274
- 275
- 276
- 277
- 278
- 279
- 280
- 281
- 282
- 283
- 285
- 287
- 288
- 289
- 290
- 291
- 292
- 293
- 296
- 297
- 298
- 299
- 300
- 303
- 304
- 305
- 306
- 307
- 308
- 309
- 310
- 311
- 312
- 315
- 316
- 317
- 318
- 319
- 320
- 321
- 322
- 323
- 324
- 325
- 326
- 327
- 328
How to Listen
- 1. Click "Listen Free" above
- 2. The book opens in CastReader's browser reader
- 3. Click the play button — AI narration starts with word highlighting
- 4. Use "Send to Phone" to continue listening on your phone
More by Giorgio Vasari
You Might Also Like
FAQ
Is this audiobook really free?
Yes. "Vasari on technique" is a public domain work from Project Gutenberg. CastReader converts it to audio using AI text-to-speech for free. No account or payment needed.
What does the AI voice sound like?
CastReader uses Kokoro TTS, a natural-sounding AI voice. It handles punctuation, names, and dialogue naturally. Most listeners forget it's AI after a few minutes.
Can I listen on my phone?
Yes. Open the book, then use "Send to Phone" to stream audio to your phone via Telegram. No app download needed.