266 KEMPLEY CHURCH, GLOUCESTERSHIRE. 



thus preserved from the effects of light, and other sources of injury. 

 This covering of whitewash we removed hit by hit with the greatest 

 caution and dehberation in the winter of 1872, when the existence of 

 these long forgotten paintings first came to light.* 



The paintings are executed on a single coat of stucco laid on the 

 rubble wall, which is so rough and uneven inside that it cannot ever have 

 been intended to be left bare ; and I think there can be but little doubt 

 that both the stucco and the pictures are contemporary with the building 

 itself, i.e., somewhere near the year 1100 A.D. 



"With regard to the technical process by which these paintings 

 were executed, I am convinced that they are not true Frescoes : that 

 is, that they were not painted on the wet stucco with purely earthy 

 pigments and a lime medium : one reason being that the colour is little 

 more than superficial, and has not sunk into and become incorporated 

 with the stucco, as is the case with true Fresco. Another is the absence 

 of " Fresco edges " as they are called, that is, the scarcely perceptible 

 line that separates the patch of stiicco laid one day from that of the next 

 day; for, as it was necessary that the colours should be appUed to 

 perfectly wet and unset stucco, it was of com-se needful that no more 

 should be apphed to the wall than the artist could cover with one day's 

 work, or in some cases even less. This being the case, then, that the 

 paintings were executed on the finished and dry surface of the plaster, 

 there remains no doubt that they are iu some form of tempera, probably 

 with a medium of egg and vinegar, or perhaps simply size. This latter 

 process is sometimes wrongly called Fresco, even by the Italians them- 

 selves, who distinguish it by caUing it " Fresco secco," and the true 

 Fresco, '^Fresco luono;" but it is better to use the word in its true 

 meaning as implying painting on wet or " fresh " plaster. 



In the centre of the vault is a figure of Christ in Majesty, 

 more than life size, seated upon a rainbow, and enclosed in a frame 

 or glory; a cruciform nimbus surrounds his head, and resting on the left 

 knee is a book or tablet, with the letters IHC XPC, for lesous Christos. 

 The feet are towards the east, and below them, just outside the 

 frame, is a large circle much injured by the crack in the vault. 

 This circle represents the earth made Our Lord's footstool. On each 

 side of this globe is the figure of a seraph, nimbed, with six wings, and 

 beai'ing a scroll. On either side of the figure of Christ the sjinbols of 

 the Evangelists are represented — the bull and the eagle on the south 

 side, and the lion on the nox-th side, all holding books. The fourth 

 beast is veiy indistinct, and is too much injured to be made out. Over 

 the head of Christ are painted the sun and moon — the sun being a 

 yellow roundel surrounded wath white rays, and the moon a blue ci'escent 

 ■with a small circle inside it. At the sides of these great hghts are the 



* The discovery of the paintings was bronsht about throuRh the thoroufih 

 examination of the waUint; previous to the proposed restoration of the clinrch, which 

 Karl Beauchamp, the patron of the livius, had deterinmod to coinuicnce. Mr. 

 Middleton, the Architect encased for that purpose, on discovering the existence of 

 the paintinKS, stronRly advised that the restoration should not be gone on witli, but 

 that the church should be shored up, the wliitewash cari fully removed, and the 

 Burfacc of the stucco covered with a solution of water glass to preserve the 

 coloormg.— Eds. M. N. 



