Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art - Shearjashub Spooner (best fiction books to read .TXT) 📗

entitled to the honor of the invention of Oil Painting as applied to pictures, though Mr. Raspe, the celebrated antiquary, in his treatise on the invention of Oil Painting, has satisfactorily proved that Oil Painting was practised in Italy as early as the 11th century, but only as a means of protecting metalic substances from rust.

According to van Mander, the method of painting in Flanders previous to the time of the van Eycks, was with gums, or a preparation called egg-water, to which a kind of varnish was afterwards applied in finishing, which required a certain degree of heat to dry. John van Eyck having worked a long time on a picture and finished it with great care, placed it in the sun-shine to dry, when the board on which it was painted split and spoiled the work. His disappointment at seeing so much labor lost, urged him to attempt the discovery, by his knowledge of chemistry, of some process which would not in future expose him to such an unfortunate accident. In his researches, he discovered the use of linseed and nut oil, which he found most siccative. This is generally believed to have happened about 1410. There is however, a great deal of contradiction among writers as to the van Eycks, no two writers being found to agree. Some assert that John van Eyck introduced his invention both into Italy and Spain, while others declare that he never left his own country, which would seem to be true. Vasari, the first writer on Italian art, awards the invention to Giovanni da Bruggia, and gives an account of its first introduction into Italy by Antonello da Messina, as we shall presently see. But Dominici asserts that oil painting was known and practised at Naples by artists whose names had been forgotten long before the time of van Eyck. Many other Italian writers have engaged in the controversy, and cited many instances of pictures which they supposed to have been painted in oil at Milan, Pisa, Naples, and elsewhere, as early as the 13th, 12th, and even the 9th centuries. But to proceed with the brothers van Eyck, John and Hubert—they generally painted in concert till the death of Hubert, and executed many works in oil, which were held in the highest estimation at the time when they flourished. Their most important work was an altar-piece, with folding doors, painted for Jodocus Vyts, who placed it in the church of St. Bavon at Ghent. The principal picture in this curious production represents the Adoration of the Lamb as described by St. John in the Revelations. On one of the folding doors is represented Adam and Eve, and on the other, St. Cecilia. This extraordinary work contains over three hundred figures, and is finished with the greatest care and exactness. It was formerly in the Louvre, but it is now unfortunately divided into two parts, one of which is at Berlin, and the other at Ghent. Philip I. of Spain desired to purchase it, but finding that impracticable, he employed Michael Coxis to copy it, who spent two years in doing: it, for which he received 4,000 florins. The king placed this copy in the Escurial, and this probably gave rise to the story that John van Eyck visited Spain and introduced his discovery into that country. In the sacristy of the cathedral at Bruges is preserved with great veneration, a picture painted by John van Eyck, after the death of Hubert, representing the Virgin and Infant, with St. George, St. Donatius, and other saints. It is dated 1436. John died in 1441.

According to Vasari, the fame of Masaccio drew Antonello da Messina to Rome; from thence he proceeded to Naples, where he saw some oil paintings by John van Eyck, which had been brought to Naples from Flanders, by some Neapolitan merchants, and presented or sold to Alphonso I., King of Naples. The novelty of the invention, and the beauty of the coloring inspired Antonello with so strong a desire to become possessed of the secret, that he went to Bruges, and so far ingratiated himself into the favor of van Eyck, then advanced in years, that he instructed him in the art. Antonello afterwards returned to Venice, where he secretly practised the art for some time, communicating it only to Domenico Veneziano, his favorite scholar. Veneziano settled at Florence, where his works were greatly admired both on account of their excellence and the novelty of the process. Here he unfortunately formed a connexion with Andrea del Castagno, an eminent Tuscan painter, who treacherously murdered Domenico, that he might become, as he supposed, the sole possessor of the secret. Castagno artfully concealed the atrocious deed till on his death-bed, when struck with remorse, he confessed the crime for which innocent persons had suffered. Vasari also says that Giovanni Bellini obtained the art surreptitiously from Messina, by disguising himself and sitting for his portrait, thus gaining an opportunity to observe his method of operating; but Lanzi has shown that Messina made the method public on receiving a pension from the Venetian Senate. Many writers have appeared, who deny the above statement of Vasari; but Lanzi, who carefully investigated the whole subject, finds no just reason to claim for his countrymen priority of the invention, or to doubt the correctness of Vasari's statement in the main. Those old paintings at Milan, Pisa, Naples, Vienna, and elsewhere, have been carefully examined and proved to have been painted in encaustic or distemper. This subject will be found fully discussed in Spooner's Dictionary of Painters, Engravers, Sculptors, and Architects, under the articles John and Hubert van Eyck, Antonello da Messina, Domenico Veneziano, Andrea del Castagno, and Roger of Bruges.

FORESHORTENING.

Foreshortening is the art of representing figures and objects as they appear to the eye, viewed in positions varying from the perpendicular. The meaning of the term is exemplified in the celebrated Ascension, in the Pietá dé Tárchini, at Naples, by Luca Giordano, in which the body of Christ is so much foreshortened, that the toes appear to touch the knees, and the knees the chin. This art is one of the most difficult in painting, and though absurdly claimed as a modern invention, was well known to the ancients. Pliny speaks expressly of its having been practised by Parrhasius and Pausias. Many writers erroneously attribute the invention to Correggio; but Lanzi says, "it was discovered and enlarged by Melozzo da Forli, improved by Andrea Mantegna and his school, and perfected by Correggio and others." About the year 1472, Melozzo painted his famous fresco of the Ascension in the great chapel of the Santi Apostoli at Rome. Vasari says of this work, "the figure of Christ is so admirably foreshortened, as to appear to pierce the vault; and in the same manner, the Angels are seen sweeping through the fields of air in different directions." This work was so highly esteemed that when the chapel was rebuilt in 1711, the painting was cut out of the ceiling with the greatest care, and placed in the Quirinal palace, where it is still preserved.

METHOD OF TRANSFERRING PAINTINGS FROM WALLS AND PANELS TO CANVASS.

According to Lanzi, Antonio Contri discovered a valuable process, by means of which he was enabled to transfer fresco paintings from walls to canvass, without the least injury to the work, and thus preserved many valuable paintings by the great masters, which obtained him wide celebrity and profitable employment. For this purpose, he spread upon a piece of canvass of the size of the painting to be transferred, a composition of glue or bitumen, and placed it upon the picture. When this was sufficiently dry, he beat the wall carefully with a mallet, cut the plaster around it, and applied to the canvass a wooden frame, well propped, to sustain it, and then, after a few days, cautiously removed the canvass, which brought the painting with it; and having extended it upon a smooth table he applied to the back of it another canvass prepared with a more adhesive composition than the former. After a few days, he examined the two pieces of canvass, detached the first by means of warm water, which left the whole painting upon the second as it was originally upon the wall.

Contri was born at Ferrara about 1660, and died in 1732. Palmaroli, an Italian painter of the present century, rendered his name famous, and conferred a great benefit on art by his skill in transferring to canvass some of the frescos and other works of the great masters. In 1811 he transferred the famous fresco of the Descent from the Cross by Daniello da Volterra (erroneously said, as related above, to have been the first effort of the kind), which gained him immense reputation. He was employed to restore a great number of works at Rome, and in other places. He was invited to Germany, where, among other works, he transferred the Madonna di San Sisto, by Raffaelle, from the original panel, which was worm-eaten and decayed, and thus preserved one of the most famous works of that prince of painters. At the present time, this art is practised with success in various European cities, particularly in London and Paris.

WORKS IN SCAGLIOLA.

Guido Fassi, called del Conte, a native of Carpi, born in 1584, was the inventor of a valuable kind of work in imitation of marble, called by the Italians Scagliola or Mischia, which was subsequently carried to great perfection, and is now largely employed in the imitation of works in marble. The stone called selenite forms the principal ingredient. This is pulverized, mixed with colors and certain adhesive substances which gradually become as hard as stone, capable of receiving a high polish. Fassi made his first trials on cornices, and gave them the appearance of fine marble, and there remain two altar-pieces by him in the churches of Carpi. From him, the method rapidly spread over Italy, and many artists engaged in this then new art. Annibale Griffoni, a pupil of Fassi, applied the art to monuments. Giovanni Cavignani, also a pupil of Fassi, far surpassed his master, and executed an altar of St. Antonio, for the church of S. Niccolo, at Carpi, which is still pointed out as something extraordinary. It consists of two columns of porphyry adorned with a pallium, covered with lace, which last is an exact imitation of the covering of an altar, while it is ornamented in the margin with medals, bearing beautiful figures. In the Cathedral at Carpi, is a monument by one Ferrari, which so perfectly imitates marble that it cannot be distinguished from it, except by fracture. It has the look and touch of marble. Lanzi, from whom these facts are obtained, says that these artists ventured upon the composition of pictures, intended to represent engravings as well as oil paintings, and that there are several such works, representing even historical subjects, in the collections of Carpi. Lanzi considers this art of so much importance, that he thus concludes his article upon it: "After the practice of modeling had been brought to vie with sculpture, and after engraving upon wood had so well counterfeited works of design, we have to record this third invention, belonging to a State of no great dimensions. Such a fact is calculated to bring into higher estimation the geniuses who adorned it. There is nothing of which man is more ambitious, than of being called an inventor of new arts; nothing is more flattering to his intellect, or draws a broader line between him and the animals. Nothing was held in higher reverence by the ancients, and hence it is that Virgil, in his Elysian Fields, represented the band of inventors with their brows bound with white chaplets, equally