1841.] 



THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 



35 



alone there is room for the display of aught like taste or invention in 

 domestic architecture generally. On this last account, it might be 

 thought that instead of neglecting — we might say abandoning, that 

 particular department of architectural design, the profession would 

 apply themselves to it more especially, as affording the majority of 

 theni almost the only opportunities they can hope for, of displaying 

 any ability as artists. So very far, however, is it from being the case 

 that, on the contrary, all relating to the interior arrangement and 

 decoration of private houses, seems to be quite overlooked in an archi- 

 tect's professional studies, and treated as if scarcely belonging to 

 them. Very rarely indeed is any subject whatever of the kind to be 

 met with at'any of the exhibitions at the Academy; while even those 

 who publish designs expressly purporting to be studies of domestic 

 architecture, and to furnish ideas for those who intend to build, are 

 equally shy of submitting any examples of interior fitting up and em- 

 bellishment, confining their attention, as far as interior is concerned, 

 merely to adjustment of the plan; and again in regard to this last, 

 satisfying themselves with doing no more than consulting ordinary 

 convenience, and avoiding palpable defects ; but without aiming 

 at any thing further — at any kind of effect, either as regards the gene- 

 ral distribution or the individual rooms. The consequence is that 

 ■when the architect has completed his task, and taken his leave, the 

 owner finds all in the rooms in his house — with the exception perhaps 

 of vestibule and corridors — quite in an unfinished state — with bare, 

 blank walls. Of course then the decorator — who perhaps may be no 

 better than a mere paperhanger — must be called in, to give the finish- 

 ing touches to the rooms, before the upholsterer comes in his turn, 

 with his readyinade taste: — and it is well if between decorator and 

 ■upholsterer, the architecture — that is, supposing there to be any at all 

 — is not fairly smothered. Architects — at least ninety-nine out of a 

 hundred, will sav that such finical matters as those of mere fitting up 

 and ornament, do not at all belong to them, nor have formed any part 

 of their studies. The consequence is that the whole department of 

 taste in regard to such matters, is consigned over to a class of persons 

 who have generally but a very poor stock of that article, and with 

 whom what is most expensive of its kind, and the newest in its fashion, 

 is always sure to be the tip-top of elegance. 



ON THE STATE OF THE ARTS IN ITALY. 



Brief Observations on the State of the jirts in Italy, with a short account 

 of Cameo-cutting, Mosaic work, Ptttra Dura, and also of some of 

 the Domtstic Arts and Mechanical Contrivances of the Italians, By 

 Charles H. Wilson, Esq., Architect, Edinburgh, A.R.S.A., and 

 M.S.A. Read btfore the Society of Jirts in Edinburgh, Not. 1S4U, 

 and printed in the Edinburgh Neiu FhilosophicalJournal, for January 

 1841. 



I feel that I ought to apologise to the Society for bringing before it 

 a paper of this nature, which contains no description of any new art 

 or discovery, but which may rather be described as being little more 

 than a catalogue of arts and practices, most of which are of great anti- 

 quity. I hope that such a paper may be deemed admissible. As far 

 as my individual opinion goes, I would say that it would be very de- 

 sirable if several papers were read every session containing as distinct 

 accounts as could be obtained of the state of the arts and sciences, 

 with reviews of the progress made in them in different Continental 

 countries every year. That such papers would be useful in various 

 points of view appears to rae sufficiently obvious ; those who have 

 neither leisure nor opportunity to inquire for themselves would by this 

 means obtain a great deal of valuable and interesting information ; our 

 efforts to excel in the arts and sciences would be stimulated ; and, 

 above all, I think that, whilst our national vanity would be advantage- 

 ously chastened, feelings of respect and esteem, founded on a know- 

 ledge and just appreciation of the merits of other nations, would be- 

 yond all other iniluences lead to international amity. Feelings like 

 these have already been happily nourished by the amicable intercourse 

 of literati of different nations : the course which I advocate would tend 

 to the further diffusion of such sentiments amongst all classes. 



I cannot, without presumption, imagine for a moment that the paper 

 which I now bring before you can deserve to be considered one of such 

 a series. I went abroad at a very early age, and my time was entirely 

 given ap to the study of the art to which I had devoted myself, and 

 which every thing around me tended to increase my love of. The 

 collateral studies of the youthful artist are naturally those connected 

 with his art, and are greatly more extensive in Italy, from many favour- 

 able circumstances, than in Scotland, and the brief allusion which I 



have made to them and to the time of life when I lived abroad, is 

 meant as an apology for the meagreness of tlie details which I humbly 

 bring under you notice. 



Any comment on the political condition of Italy would be out of 

 place in a paper to be read here, although a distinct apprehension of 

 it would be necessary previously to any inquiry into the state of her 

 arts and sciences, and also to enable us justly to appreciate the great 

 merits of Italian philosophers and literati, who, despite of adverse cir- 

 cumstances, so greatly distinguish themselves; but to so slight a sketch 

 of the arts of Italy as that I am about to offer, any lengthened observa- 

 tions are not so necessary. Whatever may be our opinion of Austrian 

 principles of government, and of Austrian influence in Italy, all who 

 have visited the Italian territories of that pow-er, must, I think, ac- 

 knowledge that Lombardy is greatly in advance of the independent 

 states, and in no part of Europe, Scotland excepted, are there more 

 numerous schools for the instruction of all classes of the people. As 

 the traveller advances southward, with nominal independence political 

 degradation increases, and the general character of the people is low- 

 ered. We can feel no other emotions than those of regret for the 

 prostration of Italy ; but if we examine into the customs of the Italians, 

 we shall every where find expressive indications of ancient power and 

 refinement, and pleasing proof that, where civilization and its attendant 

 sciences and arts has once held extensive sway, advantages are secured 

 of which it is almost impossible, or at any rate very difficult, to deprive 

 a people. 



I shall commence with a brief notice of the art of painting in Italy: 

 this fine art has gradually declined, and there seems to be no indication 

 at present of its recovery. It is trammelled by academic system. The 

 Roman school is distinguished by a cold affectation of classic purity, 

 and a want of energy and nature in all its productions; but, whilst we 

 avoid the errors into which it has fallen, we should not allow these, 

 and the difference of its practice from our own, to blind us to its good 

 qualities ; many Roman artists draw exceedingly well, and they evince 

 this power in the large and fine cartoons which they are in the habit of 

 executing before commencing a picture. But if the student in this 

 country does not draw long enough, which I think is the case, the 

 Italian student, in acquiring his mastery of the crayon, seems to forget 

 that he is ever to use the brush ; and the Italian artists rarely prove 

 even tolerable colourists, whilst their prejudices as to the adoption of 

 many necessary processes in painting, and which were unquestionably 

 in use amongst their great predecessors, are invincible. This was 

 illustrated in an amusing manner one day in the Florence gallery. An 

 Italian artist was busy copying a Venetian picture, and my late friend 

 Mr. James Irvine, happening to look at his work, remarked to him 

 that he never could hope to imitate the brilliancy of the original with- 

 out glazing. "I know that," said the Italian, " but 1 won't glaze." 



At Florence, painting is in much the same state as at Rome ; of late 

 some artists have endeavoured to add richness in colour to the correct- 

 ness of their drawing, but they have only succeeded in arranging on 

 their pictures in brilliant juxtaposition rainbow colours, without at- 

 taining that harmonious effect which marks the works of their great 

 predecessors. At Naples, painting is at a low ebb ; at Genoa, lower 

 still ; at Venice, it is little better; but at Milan it reckons amongst its 

 professors clever men in some departments of the art. 



Fresco painting is still pursued in Italy, but with most success by 

 the Germans. I wish to avail myself of this occasion to do homage to 

 the extraordinary merits of the masters of this distinguished school; 

 in looking on their works, we cannot but regret that greater encour- 

 agement is not given to the highest department of painting in this 

 country ; in those which are encouraged, our artists excel ; and we 

 may, I think, therefore, justly conclude that ability would soon be found 

 to execute works of the noblest description. 



Engraving may appropriately be considered after painting. You 

 are ail, doubtless, well acquainted with the great names which have 

 lately marked the progress of this art in Italy; most of these distin- 

 guished artists are now dead. Several of Raphael Morghen's pupils 

 are much esteemed, the best of whom are established at Milan ; many 

 very fine and important works have been lately finished or are now in 

 progress. Messrs. Ludwig Gruner and Rusweigh, both Italianized 

 Germans, promise to revive the style of Marc Antonio with success. 



The Italian engravers are most successful in their works from his- 

 torical pictures ; but a practice which they follow is, in my opinion, 

 calculated to pi event their imitating with fidelity the style and feeling 

 of the artist whose production they copy. They engrave from highly 

 finished chalk drawings copied from pictures by artists who devote 

 themselves to this branch : however faithfully these may apparently 

 copy, it is certain that their drawings will, to a certain extent, exhibit 

 their peculiarities of mind and feeling, and, as the engraving must 

 likewise so far be marked by the style of its author, the process is not 

 favourable to the production of engravings of a faithful character. 



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