Lectures on Landscape - John Ruskin (the best books of all time .TXT) 📗

by side. Some of the touches, indeed, when the tint has been mixed with much water, have been laid in little drops or ponds, so that the pigment might crystallize hard at the edge. And one of the chief delights which any one who really enjoys painting finds in that art as distinct from sculpture is in this exquisite inlaying or joiner's work of it, the fitting of edge to edge with a manual skill precisely correspondent to the close application of crowded notes without the least slur, in fine harp or piano playing.

68. In many of the finest works of color on a large scale there is even some admission of the quality given to a painted window by the dark lead bars between the pieces of glass. Both Tintoret and Veronese, when they paint on dark grounds, continually stop short with their tints just before they touch others, leaving the dark ground showing between in a narrow bar. In the Paul Veronese in the National Gallery, you will every here and there find pieces of outline, like this of Holbein's; which you would suppose were drawn, as that is, with a brown pencil. But no! Look close, and you will find they are the dark ground, left between two tints brought close to each other without touching.

 

THE LADY WITH THE BROOCH.

From the painting by Reynolds.

 

69. It follows also from this law of construction that any master who can color can always do any pane of his window that he likes, separately from the rest. Thus, you see, here is one of Sir Joshua's first sittings: the head is very nearly done with the first color; a piece of background is put in round it: his sitter has had a pretty silver brooch on, which Reynolds, having done as much as he chose to the face for that time, paints quietly in its place below, leaving the dress between to be fitted in afterwards; and he puts a little patch of the yellow gown that is to be, at the side. And it follows also from this law of construction that there must never be any hesitation or repentance in the direction of your lines of limit. So that not only in the beautiful dexterity of the joiner's work, but in the necessity of cutting out each piece of color at once and forever (for, though you can correct an erroneous junction of black and white because the gray between has the nature of either, you cannot correct an erroneous junction of red and green which make a neutral between them, if they overlap, that is neither red nor green): thus the practice of color educates at once in neatness of hand and distinctness of will; so that, as I wrote long ago in the third volume of "Modern Painters," you are always safe if you hold the hand of a colorist.

70. I have brought you a little sketch to-day from the foreground of a Venetian picture, in which there is a bit that will show you this precision of method. It is the head of a parrot with a little flower in his beak from a picture of Carpaccio's, one of his series of the Life of St. George. I could not get the curves of the leaves, and they are patched and spoiled; but the parrot's head, however badly done, is put down with no more touches than the Venetian gave it, and it will show you exactly his method. First, a thin, warm ground had been laid over the whole canvas, which Carpaccio wanted as an under-current through all the color, just as there is an under-current of gray in the Loire drawings. Then on this he strikes his parrot in vermilion, almost flat color; rounding a little only with a glaze of lake; but attending mainly to get the character of the bird by the pure outline of its form, as if it were cut out of a piece of ruby glass.

Then he comes to the beak of it. The brown ground beneath is left, for the most part; one touch of black is put for the hollow; two delicate lines of dark gray define the outer curve; and one little quivering touch of white draws the inner edge of the mandible. There are just four touches—fine as the finest penmanship—to do that beak; and yet you will find that in the peculiar paroquettish mumbling and nibbling action of it, and all the character in which this nibbling beak differs from the tearing beak of the eagle, it is impossible to go farther or be more precise. And this is only an incident, remember, in a large picture.

71. Let me notice, in passing, the infinite absurdity of ever hanging Venetian pictures above the line of sight. There are very few persons in the room who will be able to see the drawing of this bird's beak without a magnifying-glass; yet it is ten to one that in any modern gallery such a picture would be hung thirty feet from the ground.

Here, again, is a little bit to show Carpaccio's execution. It is his signature: only a little wall-lizard, holding the paper in its mouth, perfect; yet so small that you can scarcely see its feet, and that I could not, with my finest-pointed brush, copy their stealthy action.

72. And now, I think, the members of my class will more readily pardon the intensely irksome work I put them to, with the compasses and the ruler. Measurement and precision are, with me, before all things; just because, though myself trained wholly in the chiaroscuro schools, I know the value of color; and I want you to begin with color in the very outset, and to see everything as children would see it. For, believe me, the final philosophy of art can only ratify their opinion that the beauty of a cock robin is to be red, and of a grass-plot to be green; and the best skill of art is in instantly seizing on the manifold deliciousness of light, which you can only seize by precision of instantaneous touch. Of course, I cannot do so myself; yet in these sketches of mine, made for the sake of color, there is enough to show you the nature and the value of the method. They are two pieces of study of the color of marble architecture, the tints literally "edified," and laid edge to edge as simply on the paper as the stones are on the walls.

73. But please note in them one thing especially. The testing rule I gave for good color in the "Elements of Drawing," is that you make the white precious and the black conspicuous. Now you will see in these studies that the moment the white is inclosed properly, and harmonized with the other hues, it becomes somehow more precious and pearly than the white paper; and that I am not afraid to leave a whole field of untreated white paper all round it, being sure that even the little diamonds in the round window will tell as jewels, if they are gradated justly.

Again, there is not a touch of black in any shadow, however deep, of these two studies; so that, if I chose to put a piece of black near them, it would be conspicuous with a vengeance.

But in this vignette, copied from Turner, you have the two principles brought out perfectly. You have the white of foaming water, of buildings and clouds, brought out brilliantly from a white ground; and though part of the subject is in deep shadow the eye at once catches the one black point admitted in front.

74. Well, the first reason that I gave you these Loire drawings was this of their infallible decision; the second was their extreme modesty in color. They are, beyond all other works that I know existing, dependent for their effect on low, subdued tones; their favorite choice in time of day being either dawn or twilight, and even their brightest sunsets produced chiefly out of gray paper. This last, the loveliest of all, gives the warmth of a summer twilight with a tinge of color on the gray paper so slight that it may be a question with some of you whether any is there. And I must beg you to observe, and receive as a rule without any exception, that whether color be gay or sad the value of it depends never on violence, but always on subtlety. It may be that a great colorist will use his utmost force of color, as a singer his full power of voice; but, loud or low, the virtue is in both cases always in refinement, never in loudness. The west window of Chartres is bedropped with crimson deeper than blood; but it is as soft as it is deep, and as quiet as the light of dawn.

75. I say, "whether color be gay or sad." It must, remember, be one or the other. You know I told you that the pure Gothic school of color was entirety cheerful; that, as applied to landscape, it assumes that all nature is lovely, and may be clearly seen; that destruction and decay are accidents of our present state, never to be thought of seriously, and, above all things, never to be painted; but that whatever is orderly, healthy, radiant, fruitful and beautiful, is to be loved with all our hearts and painted with all our skill.

76. I told you also that no complete system of art for either natural history or landscape could be formed on this system; that the wrath of a wild beast, and the tossing of a mountain torrent are equally impossible to a painter of the purist school; that in higher fields of thought increasing knowledge means increasing sorrow, and every art which has complete sympathy with humanity must be chastened by the sight and oppressed by the memory of pain. But there is no reason why your system of study should be a complete one, if it be right and profitable though incomplete. If you can find it in your hearts to follow out only the Gothic thoughts of landscape, I deeply wish you would, and for many reasons.

77. First, it has never yet received due development; for at the moment when artistic skill and knowledge of effect became sufficient to complete its purposes, the Reformation destroyed the faith in which they might have been accomplished; for to the whole body of powerful draughtsmen the Reformation meant the Greek school and the shadow of death. So that of exquisitely developed Gothic landscape you may count the examples on the fingers of your hand: Van Eyck's "Adoration of the Lamb" at Bruges; another little Van Eyck in the Louvre; the John Bellini lately presented to the National Gallery;[12] another John Bellini in Rome: and the "St. George" of Carpaccio at Venice, are all that I can name myself of great works. But there exist some exquisite, though feebler, designs in missal painting; of which, in England, the landscape and flowers in the Psalter of Henry the Sixth will serve you for a sufficient type; the landscape in the Grimani missal at Venice being monumentally typical and perfect.

78. Now for your own practice in this, having first acquired the skill of exquisite delineation and laying of pure color, day by day you must draw some lovely natural form or flower or animal without obscurity—as in missal painting; choosing for study, in natural scenes, only what is beautiful and strong in life.

79. I fully anticipated, at the beginning of the Pre-Raphaelite movement, that they would have carried forward this method of work; but they broke themselves to pieces