Various
Blackwood's Edinburgh Magazine, Volume 62, No. 383, September 1847
Snakes are not so plentiful about Rome as farther south. Terracina in particular swarms with them, as did its ancient predecessor Amycle, which was once nearly depopulated by them. Their chief haunt hereabouts is two miles beyond the Porta Salara, at a place called Serpentina, on the opposite side of the Tiber, and nearly in front of the embouchure of the Cremara. At last we come to the family viper box, which perhaps we "would like to peep into with our gloves on?" "Per Carita, no," said we seizing the naturalista's hand – "on no account – a bite would be no joke!" Cadet laughed, observing that curiosity should not be baulked by timidity for a trifle. – "A trifle! had she ever been bitten, then?" "Come? sicuro ogni anno." It was of familiar occurrence: the part would swell, be stiff and sore for a couple of days, but that was all. Fontana found that it required four large and very angry vipers to kill a dog – of course it must require as many to kill a man. As to the Egyptian Queen's death being caused by a viper's bite, that question having been properly ventilated (ventillata) by Professor Lancisci, might be considered as set at rest. One viper could not kill one person, much less three; and we might remember that Cleopatra's memorable asp is said to have bitten two maids of honour, Neæra and Carmione, before it came to her turn, by which time the poison must have been expended and the viper's tooth dry. "Two things," added she, "I have noted about vipers; one regards the parturient viper, and is to the effect that, a prisoner, she never survives her confinement many days; long before the quarante jours y compris l'accouchement7 are over, she has ceased to be a mother and a viper. The other regards her progeny, and is this; that young viperlings come into the world in full maturity of malice, offering to bite as soon as their mouths are open, and flying at each other when they have no other society to attack. We have five varieties in Rome." "Is the viper deaf, Cadet?" "You should read the experiments of Peter Manni, a great friend of ours who tames snakes; these will completely satisfy your curiosity on this point: " and she fetched us the work of Manni, in which he gives curious account of the influence exercised upon several varieties of the species by the sound of a pianoforte, and afterwards goes on to relate the effects produced upon the same serpents by electricity and light. "The Viper," says he, "was impassive to the second of these agents, suffering a lighted candle to be brought close to his eyes before he turned away his head; of the harmless snakes, Coluber Esculapius came up to look at a lighted torch, but, finding it too strong for him, gnashed his teeth and bolted; Coluber Elaphis bore the heat of a lighted candle in his mouth with apparent indifference; but the Coluber Atro-virens flew at it in a passion, snapping and biting while he struggled to retreat; he also appeared most distressed under the application of slight electric shocks, from which indeed all the snakes suffered, and the smaller ones died."
The action of some poisons upon snakes is similar to that on our own economy. For instance, on administering half a grain of strychnine to a full-grown Coluber Atro-virens, four minutes elapsed before, any change was visible. During this period the snake moved in the hand with his usual vivacity; the flesh then began to grow rigid under the finger; and in half a minute, the whole body, with the exception of three inches of coil, was seized with a tetanic spasm – the beautiful imbrication of the scales was dislocated by the violence of the muscular action, and the sleek round cylinder of the body was hardened into knots and reduced to half its former bulk. Reviving for a few seconds, the snake started, opened its jaws, but immediately afterwards became stiff and motionless except at the tail, which continued to exhibit feeble contractile action for about twenty minutes. After death, the body, losing its unnatural rigidity, became unnaturally supple, seemed without a spine, and might be doubled upon itself like a ribbon. In two cases which we witnessed of individuals poisoned by strychnine, similar tetanic phenomena were observed. Corrosive sublimate and prussic acid do not appear to act on snakes either with such violence or rapidity as on warm-blooded animals; for a dose of three grains of the former, and several drops of the latter, (Majendie's,) remained inactive for a quarter of an hour; then, two grains of arsenic being added, the snake suddenly raised his head half a foot from the ground, remained motionless as in a trance, for a minute, then fell back quite dead. We are not proud of these experiments, nor do we intend to repeat such; but having been guilty of them, the recital of the results can do no harm.
What various and even opposite qualities, owing to the supposed versatility of his character, have been ever attributed to the serpent! Viewed as fancy dictated, under different phases, men were not content to ascribe to him their vices only, but must also attribute to him most of their moral excellencies: wisdom, prudence, vigilance, fortitude and sobriety were all his; he was symbolical of the divine nature, of eternity, and of youth. Long before viper broth was used in medicine, the Coluber was at Hygeia's side by the fountain of health, and was twined round the stick of Esculapius, at once silent and expeditious in his motion. Harpocrates favoured, and Mercury the Olympic messenger employed him as his deputy; though victim on one occasion to the archery of Apollo, the god of verse found something in his so akin to poetry, (particularly to the kind called epic,) that he took an additional cognomen (Pythius) out of compliment to him; whilst Alexander and Augustus, those worthy descendants of Jove (whom he is said to have befriended in his amours), stamped his image on their coins, and assumed it as their crest. So far we behold him in favour both with gods and men: but opinions vary, applause is inconstant; and accordingly we equally find him charged with envy, hatred, malice, hypocrisy, ingratitude, cruelty, and almost every other vice. He is also accused of devastating towns, of usurping islands,8 of impeding armies,9 of destroying priests at the altar, and it is certain that he lent his name to heresy, and permitted the great Heresiarch to assume his form in order to beguile Eve.
– "winding 'bout
Of linked structure long drawn out,"
MATERIALS FOR A HISTORY OF OIL PAINTING. 10
In the prosecution of an object, it often happens that the means employed lead unexpectedly to results of immeasurably more importance than the end originally proposed; and that, while the ostensible end may turn out to be a failure or of doubtful benefit, some real good, some lasting advantage, shall be brought out by the exercise of the ability, energy, and faithfulness of the agents employed.
The mind can scarcely work on given materials without making some discovery. In this sense did Socrates adopt the line of Hesiod —
"Employ thyself in any thing rather than stand idle."
We are of those who would doubt the advantages proposed by the Commission of the Fine Arts. If it were likely to lead to a permanent patronage for great works, it would be a boon indeed; but if it be the cause of only a temporary excitement, holding out a promise which it has no means of fulfilling, encouraging talent, and making it unprofitable, turning it from the line in which it is wanted, to that in which it is not likely to be sought after, the artists will have little reason in the end to be thankful for the establishing of this Commission. The competition which it proposes is not altogether wholesome: it is sicklied over from the beginning with the fear and jealousy of a class. The tried hands of an academy abstain from a contest which may take away from them the honour (in the world's eye) which has been exclusively appropriated to them; and the new aspirants work at too probable a loss, scarcely hoping that their labours will be adopted or rewarded: while in that absence of a higher competition, the public, and possibly the Commission itself, expect inferiority; and if these great pictures, great in dimensions as in attempt, are not purchased by the public, there can be little hope that any private dwellings will contain them. If the object be to adorn the Houses of Parliament with pictures, it would be far better to select from the painters we have, and give them their work to do, than to raise up a host of artists, nine-tenths of whom must sink under a hopeless lack of employment; for there is not a general taste for the particular style which it is the object of the Commission to promote, nor can there well be in a country where there are so few public edifices of importance and of public resort, and so few palaces capable of containing works of great size. Indeed the art of decoration is with us quite of another character, and one little adapted for the display of great works. There, is paint in profusion, and of a dazzling splendour, – we do not mean to speak slightingly of this architectural adjunct; – but there is little room for the sobriety of great art; and be it remembered that art, to be great, must have in it a certain sobriety, awe, and majesty, that does not quite accord with our style of decoration. We require a kind of furniture decoration. We doubt if in our Houses of Parliament and palaces, much room will be spared to what is so facetiously termed "High Art." Nor can we expect to be always building Houses of Parliament; and, therefore, too soon the magniloquent patronage must come to an end. Domesticity is the habit of modern life, (for even our club-houses are of that character, and assume the appearance of a home;) and, for such habits, easel pictures will ever have the greatest charm. Nor would it be correct to deny to them a very scope in the field of art. We doubt if we can recur to any extensive patronage for frescoes; and their great cost must exclude them from our churches, which we are more desirous of multiplying than of ornamenting. Nor can we wonder at this; for, whereas the churches and all public buildings in Italy, were and are open at all times, and the great works they contain, are to be seen every day, and at every hour of the day, with us it is a great thing to have them open once or twice in the week, for an hour and a half at a time. So that we fear the Commission for the promotion of the Fine Arts are, as far as we can judge of their ostensible object, in a labyrinth, from which if they find an exit, they will not have enlarged their prospect, and will have to congratulate themselves, at best, on being where they were when they entered it.
We do not here express a doubt as to the advantage of our having a Commission of the Fine Arts. We only doubt their judgment in the exclusiveness of their aim, and the largeness of their implied promises.
But if there be a suspicion of failure in the ostensible object, in some of its working the greatest benefit will have been conferred upon modern art. A more judicious or more fortunate choice could not have been made, than that made in the appointment of the Secretary to the Commission. Much as the world has reason to regret that this appointment has for a long, too long a period, been a sore let and hinderance to Mr Eastlake in the practice of his art, – the conscientious view he has taken of the duties of his office, and his entire faithfulness in discharging them, have led to results of a most beneficial character, – beneficial to artists, and to the arts as a perpetuity. His highly valuable work, though with the most modest title, "Materials for a History of Oil Painting," is the real boon, and will be the lasting proof of his faithful service. Considering the sacrifice with which a work of so much labour, thought, and research must have been achieved, we hope the Commissioners are empowered to reward his energy, ability, and fidelity, according to their merits, and according to the sacrifice.
Mr Eastlake, justly judging it to be of the first importance, in whatever schemes might be entertained for the promotion of the Fine Arts, to secure to the artist the best materials, and the approved methods of the best times, and to give him as complete a knowledge of the history of the art he professes as might be obtained, undertook to search out and examine records with the greatest care, leaving as little to conjecture as possible. He could not dictate to the mind, but he might be able to put means into the hands of genius; the more perfect the instruments, the greater would be the freedom, and, what is of no small importance, the more durable would be the works. The first step in this direction was evidently towards a knowledge of what had been done, and had been universally admired and approved: – to discover first, if possible, what was the method and what were the technical means in the hands of Titian and Correggio, of Rubens and most of the Flemish painters.
Aware of the discussions and disputes concerning the invention of Van Eyck, he found it necessary to trace the progress of art from its earliest records to the date of the supposed discoverer of painting in oil – or rather discoverers, Hubert and John Van Eyck, in 1410. The conclusion to which the documentary evidence led him was this, that: —
"The technical improvements which Van Eyck introduced were unquestionably great; but the mere materials employed by him may have differed little, if at all, from those which had been long familiar. The application of oil painting to figures, and such other objects as (with rare exceptions) had before been executed only in tempera, was a consequence of an improvement in the vehicle." "It is apparent, that much has been attributed to John Van Eyck, which was really the invention of Hubert; and both may have been indebted to earlier painters for the elements of their improved process."
The very early use of oil in painting need not here be discussed, though it was necessary to go into much detail in forming a history of the art, which was the object of Mr Eastlake. Perhaps, the earliest in our practice will be found to have been in England, and may have been the legacy of art bequeathed at the departure of the Romans. It did not commence in Italy. "The use of resinous solutions combined in various proportions with oil, as a medium or vehicle for the colours, was an early technical characteristic of the northern schools, and merits attention here, accordingly."
It is the opinion of the author of "Materials for a History," &c., that the Van Eycks did not so much invent as improve; it was therefore most desirable to ascertain what was previously ready to their hands to be improved. And as to the improvement, that was perhaps really less than has been supposed, the application being the novelty. Oleo-resinous varnishes had before been in use, even from a very early period; but the admixture of these with the pigments was the great step in advance, and it may be inferred that the method of rendering these oleo-resinous vehicles colourless, or nearly so, was the great invention of John Van Eyck.
Drying oil was well known to the ancients, that is before the Christian era. "Dioscorides, whose works were familiar to medieval writers on medicine, is supposed to have lived in the age of Augustus. He mentions two drying oils; walnut-oil and poppy-oil. The principal materials employed in modern oil painting were at least ready for the artist, and waited only for a Van Eyck, – in the age of Ludius11 and the painters of Pompeii."
We will not attempt further to pursue the history of oil painting to the time of the Van Eycks; suffice it to say, that a recipe of Theophilus, a monk of the twelfth century, furnishes materials – an oleo-resinous vehicle generally used after the time of Van Eyck – and that the improvement by Van Eyck was the substituting amber for the sandarach of Theophilus. The work of Theophilus has recently appeared, translated by Mr Hendrie from the Latin, and forms a very valuable addition to the painter's library, as well as to that of the curious and scientific, in general. The artist will find in Mr Hendrie's preface, the information he will be most desirous to possess. He strongly insists upon amber varnish as being the real vehicle or discovery of Van Eyck, and lays much stress upon a certain distilled oil as a diluent. He says: —
"Amber varnish, and probably other thick oil varnishes, would be equally benefitted, thinned with this distilled oil. It dries without a pellicle when mixed with colours. Colours used for finishing a picture, such as in the light for solid painting, or glazing for colour and shadows, are rendered very pure and without the slightest appearance of a skin, although it may be plentifully used. It dries much more slowly than any other distilled oil, and hence its great value, as it allows the artist as much time as he requires, in order to blend his colours and finish his work. In conjunction with amber varnish, it forms a vehicle which leaves nothing to be desired, and which doubtless was the vehicle of Van Eyck, and in many instances of the Venetian masters, and of Correggio; the different modes of painting necessarily producing the varied appearances of the different schools and masters."
This promises the remedy for the disease, as it were, of vehicles, the not drying from the bottom, which will delight every artist, if he finds it a practical truth. We confess, we somewhat fear the sanguine temperament of the translator of Theophilus, and should have preferred some proof to the bare assertion that the picture by John Bellini, in the National Gallery, was painted in amber varnish. Nor can we quite trust his translation of the recipe for making this amber varnish. We were startled with this account of 1 lb litharge to 1 lb linseed oil and 4 ounces of amber – is he correct in translating spigelhors litharge? It should be rosin. With regard to the value of amber varnish, Mr Eastlake quite agrees with Mr Hendrie. Another important improvement of the Van Eycks was the substitution of calcined white copperas for litharge. In a note, Mr Eastlake gives the information that on experiment it has been proved that oil does not take up any portion of the copperas, which nevertheless renders it very drying and hard, but that oil does take up sugar of lead. It should be added, however, that he does not think lead so prejudicial to colours as some have thought it to be.
The value of Mr Eastlake's book chiefly consists in the documentary evidence which is now brought to bear upon the question of vehicles; and doubtless, that which is subsequent to the time of Van Eyck is by far the most valuable. Evidence is produced not only of oils in use, and the methods of purifying them, but of varnishes, and recipes for making them, likewise of the colours used. There is yet, however, much untold with regard to the Italian practice, concerning which Mr Eastlake proposes to treat in a second volume. Yet, with regard to the Italian methods, we are not left without some important knowledge, which, however, must be considered as offered rather incidentally; for the Italians having modified, and in some respects much varied the vehicle they derived from the Flemish masters, their methods were again partially adopted by the latter; so that the methods of these two great schools of art could not be kept entirely separate.
To those much acquainted with art, it will be thought of the utmost importance to obtain any recipes of the time of Rubens and Vandyke. Such we are in possession of – contained in a manuscript in the British Museum – of which we may expect the publication entire. It may be interesting to give some account of this MS. and its author. The manuscript is entitled "Pictoria, Sculptura, Tinctoria, et quæsub alternarum artium spectantia, in Lingua Latinâ, Gallicâ, Italicâ, Germanicâ conscripta, a Petro Paulo, Rubens, Vandyke, Somers, Greenberry, Jansen, &c. – Fo. xix. A.D. 1620; T. de Mayerne." Theodore Mayerne, the author, was born at Geneva, 1573. "He selected the medical profession; and after studying at Montpelier and Paris, accompanied Henri Duc de Rohan to Germany and Italy. On his return he opened a school, in which he delivered lectures to students in surgery and medicine. This proceeding, and the innovation, as it then appears to have been, of employing mineral specifics in the healing art, excited a spirit of opposition which led to a public resolution, emanating from the faculty at Paris, in which his practice was condemned. His reputation rapidly increased from this period. He had before been appointed one of the physicians in ordinary to Henry IV. In 1611, James I. invited him to England, and appointed him his first physician. De Mayerne enjoyed the same title under Charles I. He died at Chelsea, leaving a large fortune, 1655."… "Dallaway, in his annotations on Walpole, after noticing the influence of De Mayerne's medical practice on the modern pharmacopœia, remarks that 'his application of chemistry to the composition of pigments, and which he liberally communicated to the painters who enjoyed the royal patronage, – to Rubens, Vandyke, and Pelitot – tended most essentially to the promotion of the art. From his experiments were discovered the principal colours to be used for enamelling, and the means of vitrifying them. Rubens painted his portrait; certainly one of the finest now extant. It originally ornamented the Arundel collection: was then at Dr Mead's, Lord Besborough's, and is now (1826) at Cleveland House.'… A monarch who was so fond of painting as Charles I., was fortunate in having the assistance of a person who combined a love of art with a scientific knowledge applicable to its mechanical operations. It is not surprising that such an amateur as De Mayerne should enjoy the confidence of the first painters of his time; or that in return for the useful hints which he was sometimes enabled to give them, they should freely open to him the results of their practical knowledge. Such communications, registered at the time by an intelligent observer, threw considerable light on the state of painting at one of its most brilliant periods, and tend especially to illustrate the habits of the Flemish and Dutch schools."
De Mayerne records the use of sand in purifying oils, as a communication from Mytens, painter to Charles I., before the arrival of Vandyke. "Coming from such a source," says Mr Eastlake, "it may be classed among the processes which were familiar to the Flemish and Dutch painters."
The works of the Flemish and Dutch painters are undoubtedly those which the artists of the present day would desire to be the tests of vehicles and of colours. They can scarcely have, therefore, a more valuable document than this manuscript of De Mayerne, the friend of Vandyke. From this source there is much information with regard to colours. It has always been supposed that Rubens in particular was lavish in the use of Naples yellow. It was largely used by the Italian painters; but it is omitted in the list of colours of the Dutch and Flemish. Many yellows, which in oil alone will not stand, are, it seems, durable if protected by an oleo-resinous medium. After enumerating many other yellows, Mr Eastlake remarks – "There was, however, one substance, viz. gamboge, now undeservedly fallen into disuse in oil painting, which is superior to most, if not to all, of those above named; the colouring matter united with its resinous portion, which renders it more durable in oil painting, may be easily freed from mere gum. De Mayerne, it would seem on good grounds, pronounces in its favour; and his speculations respecting the best mode of using it are confirmed by modern authorities. Gamboge, he observes, furnishes a beautiful yellow, constant, unfading, and that works freely."
We are not surprised to see another pigment commended; we have long used it, but believe it is unknown as a colour by the artists of the present day, though, we suspect, sold by colour-makers for common work as a cheap brown. It is common coal. De Mayerne says, "The shadows of flesh are well rendered by pit-coal, which should not be burned." It is also recommended by Van Mander, and by Norgate, "whose directions for oil painting correspond in all outward particulars with the Flemish methods." In some experiments recorded by Sir Joshua Reynolds – there are the words "Gamboge and oil – but no colour remains;" yet it should be observed that where it is protected it is most durable. We believe the Aloes Cavallino, spoken of in terms of commendation by Leonardo da Vinci, to be an excellent transparent colour – and well calculated to give great richness to browns and to greens. It is certainly very interesting to know the colours actually used by the best masters of bye-gone days, – but we must not forget that modern science may greatly have improved many, and produced others, and has surer grounds to pronounce on their permanency. Mr Field, in his Chromatography, has rendered a very great service to art.
It is not only the varnish, or rather the gums which compose the varnishes, that should be considered with great attention, in reviewing this subject, – but the great stress which seems to have been universally laid upon the necessity of purifying the oils. And this necessity is insisted upon from the earliest times. Even after all the precaution and pains taken to purify oils, there will be a tendency to turn yellow upon the surface. Rubens, in a letter, speaks of this, and gives orders for his pictures, which were packed freshly painted, to be exposed to the sun. And this practice of exposure to the sun seems to have been adopted generally in Italy, as well as elsewhere, not only for the purpose of drying the paint more readily, but for the freeing the surface from the yellowing of the oil, the deleterious portion of which is thus taken up by the atmosphere and the heat of the sun.
We have unhesitatingly exposed the surfaces of freshly painted pictures not only to the sun, but to all weathers, – and that not for a few hours but for weeks – and always with advantage. There is another method also which will be found equally beneficial. When the surface is greasy, and will not take water from the sponge, it may be truly conjectured that this deleterious quality of the oil has exuded. We always remove it by sand and water – the coarser the sand the better; the finer, being more silicious, is more likely to cut. But we must observe that even though the picture be not fairly dry, excepting under very rough usage, the paint will not be at all removed. Even after this cleansing, the oil will still, for a considerable time, throw up this greasy product. We remove it, therefore, again and again until, after a week or ten days' trial, we find the surface free from grease; and we are strongly inclined to think the colours undergo no change when this clearance has been once well effected. In a letter from Mrs Merrifield, she strongly recommends this exposure of pictures to the sun and atmosphere; and says it was universally practised. This should not, however, prevent the previous purification of the oils; for there is no writer upon the subject that does not insist upon this. Mr Eastlake's book furnishes recipes of all ages. Frequent washings with water, to which a little salt is added, and fine sand to take down the impurities of the oil, may be safely recommended. In describing the process taught by the Gesuate, friends of Perugino, the Padre Gesuato adds, "Observe, that wherever you find oil mentioned, this purified oil is meant."
It would appear that the pigments were, formerly as now, ground only in oil: the vernix was added to the colour, by drops, when on the palette; so that, should the new, or recovered old vehicles, if such they be, come into general use, it will not be necessary to discard the supply of oil colours from the shops of our colour-makers. The colours in tubes, which happily have superseded the bladders, will still be in general request. Northcote thought it a great advantage to the old Italian masters that they were under the necessity of making most of their colours themselves. This, certainly, was not the case in the earlier times; for the monks, who were every thing – physicians, painters, chemists, &c. – were not only the patrons and dealers, but were makers of the colours also. We cannot quite agree with Northcote. The only objection we have to offer to the present system of tube colours is as regards their cost; for, considering the value of the materials, the cost of putting them up seems very exorbitant. This is of little consequence, indeed, in painting easel pictures of no great size; but if we are to proceed on the large scale, which the Commission for the Fine Arts encourages, it would become a matter of some consideration. It has been supposed that the first colour-shop in London was set up by a servant of Sir Godfrey Kneller's; but there is reason to believe, from some incidental remarks, that the trade existed in De Mayerne's time. Some painters of great eminence had their favourite colour-makers, employed, probably, by themselves exclusively. In a letter, Titian regrets the death of the man who prepared his white, – and De Mayerne says of Vandyke, "He spoke to me of all exquisite white, compared with which the finest whitelead appears gray, which he says is known to M. Rubens. Also of a man who dissolved amber without carbonising it, so that the solution was pale yellow, transparent." We learn from this that there were then colour-makers and varnish-makers, and also that the brilliant white of Rubens may not always have been whitelead.
There seems to have been in the fourteenth century a kind of painting practised in England which much attracted the notice of foreigners. It was of water-colours on cloth – "on closely woven linen saturated with gum water. This, when dry, is stretched on the floor over coarse woollen frieze cloths; and the artists, walking over the linen with clean feet, proceed to design and colour historical figures and other subjects. And because the linen is laid quite flat on the woollen cloths, the water-colours do not flow and spread, but remain where they are placed, the moisture sinking through into the woollen cloths underneath, which absorb it. In like manner, the outlines of the brush remain defined, for the gum in the linen prevents the spreading of such lines. Yet, after this linen is painted, its thinness is no more obscured than if it was not painted at all, as the colours have no body." This does not at all resemble the kind of tempera painting in use in Flanders to imitate tapestry; for it is noticed as peculiar to England by a native of Flanders. May not this method be again, with some advantage, restored for the getting in the subjects of large pictures? The cloth so painted might easily be put on other cloth prepared with a ground.