116 



Till? CIVIL KNfilNEKR AND ARCHITECTS JOURNAL. 



[April, 



iiiony of bri ken tinU iiliscnalilp in mar objprls. The abstract Irealmf-Dt 

 IS more exrlusively ih ■ sijl.- of Gicirgione ;'» by him il was liret carried 

 10 its utmost lull. Is, anil was siimetiiiies, pc-ihaps, too iQciiscrimiuatrly 

 I'nipl ijecl, wiihitul re'ereiice lo (iiiiiensions and distance. 



The Reiiiial style in qiii-stiim lias been nell defined (making some allow- 

 ance fur the stress on its learlin;: attribute), by Ment;s, whose observations 

 on this snt>jftt are adopted b) Kuscli. The.-e writers observe, thai ** the 

 breadth of loi al lint" referred to was attained by taking the predominant 

 quality in a colour for the only quality ; by painting a complexion, for 

 mstance, *' which abounded in low tones, entirely in such tones, and by 

 generalizing, in the opposite sense, another near it, of a lighter character ; 

 by painting a carnation, abounding in ruddier lints, entirely in such tints, 

 and by depriving of all such tints its neighbour thai had few." The aim 

 being distinctness, qualities that were common to several objects were 

 exaggerated in the one that had most, and comparatively suppressed in 

 the others. The same principle, deiived from the observation of nature in 

 her largest aspects, was extended lo e»ery risible 'difference of kind,' 

 i'he soil elasticity of flesh (ever a great object of the colourisls) was, if 

 possible, more than usually dwelt on in the neigbiiouriiood of substances 

 which, eiiher from their general nature, or from the character which they 

 were made to assume, were calculated to give it value ; for not only in- 

 flexible and sharp substances, but sometimes drapery was made to serve 

 this end, independently of colour, by abrupt folds, and crisply painted 

 lights. The shine on the surface of ^kill was omitted generally, but most 

 so when polished surfaces were near it ; while these were allowed to 

 reflect light like mirrors. Gradation supported the comprehensive system ; 

 colours were varied not merely in their hues, but in Ihcir mass degrees of 

 brilliancy, and other qualities. Vivid colours were therefore few, and 

 thus the end even of distinctness was harmony. Lastly, the same breadth 

 which obliterated differences in detail, obliterated them also, to a ceitain 

 extent, and according to the scheme of effect, in opposing masses; thus 

 was insured, yet without the appearance of artifice, that pleutitude of im- 

 pression which the eye requires. 



It must be apparent that not all the contrivances above adverted to 

 would be applicable in works intended for a near view. The emphasis on 

 local colours, for example, is in them no longer necessary to insure dis- 

 tinctness, and, moreover, might supersede peculiar beauties; yet the ex- 

 ample of the colourisls may show how much of this greatness of style may 

 be sometimes infused with effect, even into narrow dimensions. 



The system of the Venetians comprehended other methods, which may 

 be considered, iu a great n;easure, peculiar to the school, and which were 

 equally calculated to counteract indistinctness. Among the means adojited 

 bv them for securing such a result, their treatment of certain colours, as 

 atfected by light and shade, merits attention. The artifice was, as usual, 

 derived from the observation of nature in the open air. At that distance 

 where the entire object acquires full force of local hue by the opposition 

 of what surrounds it, the focus (if the expression may be allowed) of its 

 colour will vary, according to the real depth or lightness of its tone. That 

 focus will sometimes be in the illumined parts, sometimes in the ' dimin- 

 ished light,' which we call shadow, accordingly as the particular hue 

 requires more or less light to display it. All forcible colours are most 

 apparent in their brightest parts, even when the light is powerful. All 

 delicate colours are impaired, and sometimes nearly effaced, iu strong 

 light, and are then most apparent iu their shadowed portions, where they 

 bei'ome deepened by means of reflection. I5ut, let the same object be 

 transferred from the open air to a confined or less vivid light, and the effect 

 is reversed ; the shadows become dark and, generally, neutral, and the 

 colour is displayed iu the light only. The larger system, though adopted 

 by the Venetian painters from habit and pretlilection almost indiscrinii- 

 nately, was especially employed by them iu works intended to be seen at 

 some distance. Fullness and bieadlh were iu such cases indispensable; 

 and by a judicious use of the effects in question, they increased colour 

 without sensibly diminishing light. The extreme and exaggerated in- 

 s:ances of this treatment weie generally in situations which admitted only 

 of a distant view. The abu^e of the sijle was indeed sufficiently guarded 

 against by the principle, seldom forgotten in pictures of the school, that 

 coJonrs require iu all cases te be more or less subdued and broken, fur the 

 sake of general harmony. Tiiis object was even partly attained by the 

 practice referred lo : the ordinary (and most commonly applicable) prin- 

 ciple is, that colours should be neutralized in shatle ; but, in the excepted 

 cases above described, where they are most displayed in reflection, they 

 require to be, and are in nature, in a great measure suppressed and neu- 

 tralized in their illumiued parts. This is assisted by the colour of ihe light, 

 which, although assumed to be nearly white, appears comparatively warm 

 on cold light cidours, and the contrary on warm ones. Harmony, there- 

 fore, was also promoted by this method. 



The influence of certain conditions on the leading departments of paint- 

 ing has now been considered. In this examination, the effects of distance 

 on objects in nature, and also on their painted representations, have 

 been adverted to. The two are not to be confounded ; but the question 

 respecting their relation presents no difficulty in a practical »iew. It is 

 quite certain that the most distinct and easily recognized appearances are 



^ « From the scarcity of tlie worlfs of lliis great artist, filengs hesitates to believe that 

 ,^ was ttie inventor of the dt-ep mid gtovviog style of colour vvbich his Italian eulogists 

 ^{irilintetn him ; the latter are. however, safer goidfS. 'J'tie early i,iotures of Titian, and 

 tbe works of Bcbasiloji del PiumbL', esjiecialiy bis portraits, attest the influence of tiior- 



best adapted for pictures requiring lobe viewed at some distance. Tha 

 machinery of art is selected accordingly. The point, or degiee of remote- 

 ness iu nature, where colour is most distinct (that is, most l.irge and power- 

 ful), is not the point where form is so; for figures must, even at such a 

 moderate distance, be considerably reduced by perspective. It is not the 

 point where outline is so ; for, in ordinary cases, outlines are soon blunted 

 by distance. 'I'he artificial combination of the breadth of general appear- 

 ances with due distinctness of form is not dictated merely by the neces- 

 sities of particular conditions, nor is it confined to particular school... ; it is 

 a liberty which all have taken, and is one great source of what is called 

 ideal beauty; for the "enchantment" which "distance lends' is thus 

 combined with precision. 



Such are among the expedients adopted by the great painters, in order 

 to counteract indistinctness. The considerations who h weighed with 

 them niay not only be applicable in similar cases, but may show the 

 necessiiy of employing the resources of art generally for the same great 

 object, viz., that of satisfying the eye in order to aflTect the mind. The 

 selection and adaptation of particular resources, uith reference to par- 

 ticular conditions ; the view of nature, and the use of art which may be 

 calculated for different circumstances ; have all one and the same imme- 

 diate end. r>ut the test of a due application and economy of the means 

 fitted lor such various cases will be, that their conventions should be 

 unmarked, and that art and its contrivances should be forgotteu iu their 

 ultimate impression. 



It remains to observe that if the qualities in various departments of ait 

 above considered are fit for works executed under the conditions of dimen- 

 sions, situation, and light, before enumerated, then fresco-painting (sup- 

 posing due practice in the method) is calculated to display lliose qualities. 

 For example, its unfitness to represent large masses of shade is not objec- 

 tionable because such a treatment is not desirable according to the above 

 conditions. In colour, the stress on local hues and the integrity of masses 

 (nut incompatible with harmony and due gradation) which have been 

 employed by great painters iu works chiefly intended to be seen at a 

 distance, are quile consistent wiih the resources of fresco; while in form, 

 the distinctness and siuiplicily which appear to be desirable are especially 

 adapted for its means. 



It has been already observed that the Venetian painters were in a great 

 measure indebted to the practice of fresco painting for that comprehensive 

 style of colauring which treats objects and their surrouniling accompani- 

 ments in their largest relations. The early rivalry in fresco of Titian and 

 Giorgione, on the exterior of an edifice near the liialto, in A'cnice, has been 

 already noticed, 'i'heir works, chiefly consisting of single figures, were 

 there numerous. Besides that building, the following houses iu Venice 

 were painted on the outside by Giorgione. A fafade near Santa iMaria 

 Zobenico, another near .S. Vilale, two others in the same neighbourhood, 

 the Casa Soranza, near S. Paolo, his own house, near S. Silvestro, and the 

 Casa Griniani, near S. Ermacora. The houses painted fresco on the ex- 

 terior, by Tintoret, Paul Veronese, Zelotti, Pordenone, Schiavoue, Salvi- 

 ati, and others, would form, iu each instance, a longer list. 



The modern revivals of fresco on the continent appear to have chiefly 

 had the Florentine style iu view ; it may remain fur the English artist to 

 engraft on this and on the maturer Roman taste Ihe Venetian practice. It 

 was formerly a question whether Venetian colour was compatible with the 

 grandest style of paiuting, but that prejudice may be consideied extinct. 

 Unfortunately, the best of the Venetian frescoes were painted in the open 

 air, and most of them live only in description. The frescos of Pordenone, 

 in Piacenza,and two of Ifapliael's (the mass of Bolsena and the Heliodorus) 

 in the Vatican, are probably among the best examples of colour in this 

 method now existing. The last mentioned, according to every hypothesis, 

 were painted under the influence of an artist of the A'enetian school. Their 

 date corresponds with the arrival in Rome of Sebastian del l^iombo, whose 

 powerful style of colouring may have been emulated by Raphael; and 

 IMorlo da I'ellre appears to have been employed ou them. Both were of 

 the school of Giorgione. 



Opposite conditions to those first enumerated. 



The resources which have been here dwelt on are to be considered as 

 applicable, in many cases, to one class of conditions only. The different 

 means and aims, « hich entirely opposite circumstances might require or 

 suggest, have been already occasionally noticed, and may now be 

 recapitulated; with a view to obviate the partial conclusions which u 

 somewhat exclusive view might appear to involve. 



The external conditions, relating to light, situation, dimensions and 

 metbodi, at first proposed for consideration, were called " causes of indis- 

 tinctness." 



Let those conditions now be reversed. Let the dimensions of the 

 picture and of the objects represented »° be such that the spectator may 

 contempldle the work at the tlistance of two or three feet (or whatever 

 distance may be requisite to insure most distinct vision). Let the picture 

 be opposite the eye. Let the light be altogether adapted. And let the 

 means of representation be oil-painting, the resources of which are all- 

 sufficient for complete imitation. 



39 A small picture may contain portions of large or even colossal 6gures, In which case 

 the distance o( the spectator from the work is no lonfrer regulated by ttic dimensions of 

 the frame, but by those of the olijects represented. A distuiK-e corresponding with the 

 average limits of moat distinct vision is here purposely assumed. 



