Various
Blackwood's Edinburgh Magazine, Volume 65, No. 402, April, 1849
The manuscript of Petrus de St Audemar, according to Mr Eastlake, may be of the end of the thirteenth or beginning of the fourteenth century. He is supposed to have been a native of France, (Pierre de St Omer.) Some of the recipes are found in the "Clavicula," attributed to the twelfth century; but this is no argument against the date, for it was at all times the practice to make selections from former "secreti."
The manuscripts of Eraclius consist of three books – the first two metrical, the third in prose. Nothing is known of the author. "Two ancient copies only of the MS. of Eraclius have been hitherto discovered, and it is somewhat singular that both are bound up with the MSS. of Theophilus." It is not easy to fix a date to Eraclius. Mrs Merrifield thinks "that the metrical parts only constituted the Treatise 'de coloribus et artibus Romanorum' of Eraclius, and that this part is more ancient than a great part of the third book."
Manuscripts of Alcherius. – These are of two dates, 1398, and again corrected 1411, after his return from Bologna, "according to further information, which he subsequently received by means of several authentic books treating of such subjects, and otherwise." These are the Le Begue manuscripts.
"The Bolognese manuscript is of the fifteenth century. It is a small volume in duodecimo on cotton paper, and is preserved in the library of the R. R. Canonici Regolari, in the convent of St Salvatore in Bologna." There is no name of the author – it is written sometimes "in Italianised Latin, and sometimes Italian, with a mixture of Latin words, as was usual at that period." It has no precise date. It is an interesting notice of all the decorative arts practised in Bologna at that period, and contains a systematically arranged collection of recipes.
The Marciana manuscript is of the sixteenth century, in the library of St Marco at Venice. The recipes are in the Tuscan dialect, and some are but little known. They appear to have been compiled for the use of a convent, by some monk or lay brother, who, in his capacity of physician to the infirmary, prepared both medicaments, varnishes, and pigments. Names of artists are mentioned which show that the author lived at the beginning or middle of the sixteenth century.
The Paduan manuscript, Mrs Merrifield asserts to be Venetian. It is in quarto, on paper, without date; but the handwriting is of the seventeenth century. It shows a manifest deviation from the practice established in the Marciana MS. – the introduction of spirit of turpentine as a diluent, and mastic varnish, instead of the hard varnishes of amber and sandarac. In it we find that "oil-paintings had begun to suffer from the effects of age; and that they required, or it was believed that they required, to be washed with some corrosive liquid, and to be revarnished. Directions, or rather recipes, for both these processes are given." Some of the recipes are in Latin, supposed "secreti," and therefore given in that language.
The Volpato manuscript. – The author, a painter, Giovanni Baptista Volpato, of Bassano, was born 1633 – a pupil of Novelli, who had been a pupil of Tintoretto. A work from a MS. of Volpato was announced for publication at Vicenza in 1685, but it is believed that it has not been published. The MS. now first brought to light by Mrs Merrifield was lent to her, with permission to copy, by Sig. Basseggio, librarian and president of the Athenæum of Bassano. There is good reason to believe that it was written during the latter end of seventeenth, or beginning of eighteenth century.
The Brussels manuscript. – This now published is a portion of a MS. preserved in a public library of Brussels, written by Pierre Le Brun, contemporary with the Caracci and Rubens; its date is 1635.
Sig. Edwards's manuscript is written by the son of Sig. Pietro Edwards, who was employed by the Venetian and Austrian governments in the restoration of the pictures in Venice. He died in 1821. His son, Sig. O'Kelly Edwards, wrote an account of the method of restoration, with interesting matters respecting the public pictures generally. Mrs Merrifield has taken extracts, the work not being permitted to be published without the permission of the Academy of Venice, which was refused.
There follow also extracts from a dissertation read by Sig. Pietro Edwards to the Academy of Fine Arts at Venice, on the propriety of restoring the public pictures.
Besides these documentary papers, Mrs Merrifield extended her inquiries among the best modern painters, copiers, and restorers, and has recorded their opinions: we cannot call them more than opinions, for there is no certain conclusion, on any one point of inquiry, to be drawn from her conferences with these persons. They give, indeed, their information, such as it is, clearly and decidedly enough, but they are at disagreement with each other. It is creditable to foreign artists to add, that only in one instance was any reluctance shown to be communicative.
It will have been observed that these documents go back far enough in time, and down to a sufficiently late date; it should be presumed, therefore, that in them will be found every particular of practice from the change of method, from the tempera to painting in oil – such as it was after "the discovery" of Van Eyck. But if we are to conclude that the discovery of Van Eyck is actually contained in these documentary "secreti" it must be admitted to have been rather a discovery of application than of material.
There is no positive distinct statement to the effect that this and this did Van Eyck, or where is the identical recipe which he introduced into Italy. This is perhaps no proof, nor cause of reasonable conjecture, that the materials of his method are not set forth in some of these MS., – on the contrary, it may have been the cause of their not being set down as Van Eyck's, upon the assumption that a new practice and application only was introduced. Indeed it will be scarcely thought, now that so much has been brought to light, that any vehicle for pigments has been kept back by the several writers of the MSS. If it then be asked what is the conclusion to be drawn – what the really valuable result of these commissions, and the indefatigable research of such able persons as Mr Eastlake, Mr Hendrie, and Mrs Merrifield – it may be answered that they all conclude in one and the same view – that the practice of the best masters of the best time consisted in the use of olio-resinous varnishes. We should have said an olio-resinous varnish, and that amber – were it not for the proof that sandarac and amber were chiefly the two substances – that they were frequently synonymous the one for the other, and that they were not unfrequently both used together. Nor can it be denied that there were occasionally other additions. Mr Eastlake places great confidence in the olio d'abezzo, which, not without a fair show of evidence, he concludes (and we think in this Mrs Merrifield agrees with him) to have been the varnish used by Correggio, according to Armenini. But we are nowhere as yet assured that it was used by Correggio as a vehicle.
If we remember rightly, there is a passage in Mr Eastlake's book which has a tendency to alarm our modern painters, and perhaps make some abstain from the use of the old olio-resinous medium. He speaks somewhere of its liability to crack, to come away in pieces, but after a long lapse of time. We could have wished he had been more explicit on this point: it would have been well to have shown the difference, if there be any, as we feel somewhat confident there must be, between the effect of olio-resinous varnishes used over the surface of a picture, and as mixed with the colours in the painting. If we are not mistaken, he refers to some of the old tempera paintings before Van Eyck's time, covered with the varnish, and particularly to those of the old Byzantine school. We do not ourselves remember to have ever seen on old pictures such changes, though we have seen them to a lamentable and obliterative degree on pictures painted within the last fifty years in oil and mastic varnish. We throw out these observations because it may attract the notice of Mr Eastlake, before his long-expected volume on the Italian practice comes from the press. It may be doubtful if Van Eyck had himself, at first, that entire confidence in his materials which time has shown they deserved – for parts of his most elaborate and famous picture were put in in distemper and varnished over – yet we are led to believe that the peculiar effect of his medium was the preservation of colours in their original purity. It should be mentioned, also, that one improvement supposed to have been introduced by Van Eyck, or rather the Van Eycks, was the dryer – the substitution of white copperas for lead: and this appears to have been adopted from chemical knowledge, it having been shown that, whereas oils take up the lead, no portion of the copperas becomes incorporated with the oils, that substance only facilitating the absorption of oxygen.
Although these MS. treatises do not go farther back than the twelfth century, assuming that to be the date of the one by Eraclius, yet there is reason to suppose that the earliest treatises are compilations of the recipes, the secreti, of still earlier ages. They become thus more interesting as links which, though broken here and there, indicate the character of the chain in the history of arts, which may be still left to complete without any material deviation from the original pattern. That character was undoubtedly religious, but it is not true that every other show of art was held in contempt, as some maintain. The goldsmith, the jeweller, the workers in glass and all kinds of metal, whose recipes may be found in these volumes of Mrs Merrifield, showed as much skill, (and a far better taste in design) somewhat out of the line of religious ornament, as any of the last two centuries. Even in the ninth century, among the gifts of the King of Mercia to a monastery, we find a golden curtain, on which is wrought the taking of Troy, and a gilded cup which is chased over all the outside with savage vine-dressers, fighting with serpents. We can imagine it a work of which a Benvenuto Cellini need not have been ashamed.
A woodcut in page xxx. of the introduction, and which Mrs Merrifield has adopted to ornament the cover, represents "a writer of the fifteenth century." It is taken from a manuscript in the Bibliothèque at Paris. It is not only curious as showing what an important and laborious art writing was in those days, and what machinery it required, but for the religious mark which designates the character of the writing – in the corner is a painting of the crucifixion. Mrs Merrifield had told us, that, in a catalogue of the sale of "furniture of Contarini, the rich Venetian trader, who resided at St Botolph's in London in 1481, or in that of a nobleman in 1572," neither looking-glasses nor chairs are mentioned! Yet in this woodcut there is not only a chair, but exactly the one which has been recently reintroduced in modern furnishing. Surely the date 1572 would throw some excuse upon that of 1481 – and offer a fair conjecture that there must have been some peculiar cause for the omission. We must have sufficient proof of chairs at the later date. Does the writer in this cut sit alone? – the room is not even indicated – or was he one of many sitting together in the Scriptorium? Mr Maitland thinks that, in later times, the Scriptorium was a small cell, that would only hold one person – not so in earlier times. We quote a passage from his book upon the subject: "But the Scriptorium of earlier times was obviously an apartment capable of containing many persons; and in which many persons did, in fact, work together in a very business-like manner, at the transcription of books. The first of these points is implied in a very curious document, which is one of the very few extant specimens of French Visigothic MS. in uncial characters, and belongs to the eighth century. It is a short form of consecration, or benediction, barbarously entitled 'Orationem in Scripturis,' and is to the following effect, 'Vouchsafe, O Lord, to bless this Scriptorium of thy servants, and all that dwell therein, that, whatsoever sacred writings shall be here read or written by them, they may receive with understanding, and bring the same to good effect, through our Lord,'" &c. We can imagine that we see the impress of this prayer in the representation, in the corner of the woodcut of which we have been speaking. Mrs Merrifield enumerates to a large extent the works of such writers: many of them must have been extremely beautiful. "The choral books belonging to the cathedral of Ferrara are thirty in number, twenty-two of which are twenty-six inches long, by eighteen in breadth, and the remaining eight smaller. They were begun in 1477, and completed in 1533. The most interesting of these books, for the beauty of the characters, as well as for the miniatures, were executed by Jacopo Filippo d'Argenta, Frate Evangelista da Reggio, a Franciscan, Andrea delle Veze, Giovanni Vendramin of Padua, and Martino di Georgio da Modena. The parchment on which these books are written is in excellent preservation. It is worthy of remark, that great part of the parchment or vellum for these books was brought from Germany, or at least was manufactured by Germans. There is an entry in the records of the cathedral, for the year 1477, of a sum of money paid to M. Alberto da Lamagna, for 265 skins of vellum; of another sum paid in 1501, for 60 skins, to Piero Iberno, also a German; and to Creste, another German, for 50 skins, furnished by them on account of these books." Caligraphy and miniature-painting were sister arts: so highly were both esteemed, that the right hands of the writer and miniature-painters, who completed the choral books of Ferrara, and those of the monastery degli Angeli in Florence, are preserved in a casket with the utmost veneration. "The best miniature-painter of the tenth century was Godemann, who was chaplain of the Bishop of Winchester, from A.D. 963 to 984, and afterwards Abbot of Thornley. His Benedictional, ornamented with thirty beautiful miniatures, is in the possession of the Duke of Devonshire. In the eleventh century, schools of painting were formed at Hildesheim and Paderborn, and the art was exercised by ecclesiastics of the higher rank." Francesco dai Libri, so called from his constant employment in illuminating MS., was one of the most eminent miniatori of the fifteenth century. What Vasari says of him is quite delightful, whether it conveys the sentiment of Vasari himself or of Francesco – that, having lived to a great age, "he died contented and happy, because, in addition to the peace of mind which he derived from his own virtues, he left a son who was a better painter than himself." We doubt if this total absence of jealousy is a very general parental virtue. The passage reminds us of the noble-hearted Achilles, whose ghost in the shades below anxiously inquired respecting his son if he excelled in glory, and being answered in the affirmative, stalked away rejoicing greatly. It may not be universally known, that the word miniature is derived from minium, red lead, with which the initial letters were written, or perhaps more commonly painted: hence our Rubrics.
Mosaic painting was for some time the rival of oil-painting. It was much esteemed at Venice, where the damp affected other kinds of painting. It was introduced unquestionably by the Greeks. It afforded work for several centuries in the decoration of the church of St Mark, commencing from the eleventh century.
This department of art was not without its jealousies. The Zuccati were charged by their rivals with having filled up deficiencies in their work with other painting, and though Titian vindicated them, and is supposed to have assisted them in designs, the Venetian government decreed that they should re-execute the work at their own cost, which nevertheless was not done. Mosaic workers did not always work from the designs of others; some, and these not inconsiderable, painters applied themselves to this art. There were great "secreti" in the working in mosaic, which even now may be useful. The most important of these of working in mosaic was that of Agnolo, the son of Taddeo Gaddi, who, in 1346, repaired some of the mosaics executed by Andrea Tafi in the roof of St Giovanni at Florence. He fixed the cubes of the glass so firmly into the ground, with a stucco composed of wax and mastic melted together, that neither the roof nor the vaulting had received any injury from water from the period of its completion until the time of Vasari. May not our slate and mortar system be happily superseded? Mrs Merrifield takes occasion to redeem from his prison, to which, in her preface to the translation of Cennino Cennini, she had condemned, that earnest old man, upon the authority of the subscription from the prison of the Stinche – showing that it was the domicile of the transcriber, not the author. Vasari asserts that Cennino Cennini, to whom the secret of mosaic work was transmitted from Agnolo Gaddi, left a treatise on the subject. No such work has been yet found; but as there are other MSS. of the author, the treatise may be yet forthcoming. There is an anecdote which shows there may be better gold than comes from the mint. Alesso Baldovinetto, who spared no pains to learn the best methods of working in mosaic, learned much of the art from a German traveller to whom he had given a lodging. Thus, having been well informed, he worked with great success. At eighty years of age, feeling the natural infirmities fast approaching, he sought a retreat in the hospital of St Paul. "It is related that, in order to insure himself a better reception, he took with him to his apartments in the hospital a large chest, which was thought to contain money; and, in this belief, the officers of the hospital treated him with the greatest respect and attention. But their disappointment may be imagined, when, on opening the chest, after the decease of the aged artist, they found nothing but drawings on paper, and a small book which taught the art of making the mosaics, (Pietre del Musaico) the stucco, and the method of working. At the present time, we should have considered this little book a greater treasure than the money which was so much desired." We here have another delightful passage from Vasari, which will readily be accepted as the old man's excuse. "It was no wonder that they did not find money, for Alesso was so bountiful, that everything he possessed was as much at the service of his friends as if it had been their own." The introductory remarks on mosaic may be well worth the builder's and architect's attention, now that great improvements have been made in the making of glass, and that it is rendered so cheap; whilst duty was according to weight, the great art was to make it as thin as possible, hence the greater nicety and expense in the manufacture. To make thick, strong, or, in the language of mosaic art, cubes of glass for ornamental purposes, and as a preservative from weather, is a desideratum of the present day.
Few people will interest themselves about Tarsia work, of which Vasari speaks slightingly, that it was fittest for those persons who have more patience than skill in design. An art, however, of some antiquity may yet be very commonly seen in the inlaid work of various woods in our Tunbridge ware. Indeed, the art is even now becoming more important in its application to furniture: our fashionable tables are a kind of Tarsia work.
The history of painting on glass is extremely interesting, and has engaged the attention of many writers. France and Germany have taken the lead in this art, particularly the former; less attention has perhaps been paid to its rise in Italy than the subject deserves. The art itself is so exquisitely beautiful, and its application as a religious ornament so impressive, that we rejoice to see its revival. Mrs Merrifield enlarges much upon the subject, and very happily, though her commission to Italy did not send her to a country where the best materials may be collected. Specimens of painted glass in our own country, both as to design and colour, are so admirable – some, indeed, may vie with painting in oil of the best time, with regard to drawing and effect – that we could wish a commission to collect and publish the coloured specimens that are now unknown, excepting to the curious in the art. Glass painting had attained great perfection in France in the eleventh century. It was likewise much cultivated in our own country; the windows of Lincoln cathedral show early specimens of great beauty. Glass windows were introduced into England as early as A.D. 674, by ecclesiastics, for decoration of their churches. In private houses, glass was extremely rare in the middle ages; it was not in common use till the reign of Henry VIII. It was the custom to remove windows as furniture. Before the introduction of glass, thin parchment stretched on frames, and varnished, and not unfrequently painted, protected the interior of the houses from the weather. We have always understood that, for the great improvement in glass-painting, and that which rendered the cinque-cento style so beautiful, we are indebted to John Van Eyck: before his time every variation in colour required a separate piece. The painting on glass, as on canvass, and burning in different tints and on colours on one surface, has been generally considered the discovery of the inventor of oil-painting. Mrs Merrifield rather thinks that at least a portion of this improvement is to be ascribed to Fra Giacomo da Ulmo, who found out that a transparent yellow might be given to the glass by silver – the origin of the invention being the letting fall from his sleeve a silver button into the furnace, which being closed, and the silver fused, a yellow stain had been imparted to the glass. Pottery and glass-making are nearly allied; it would be curious, if there be a fair ground for the supposition that the manufacture of glass was brought from Tyre to Venice. "In the fourteenth century the Venetians had still a colony at Tyre." The Venetian glass, however, was deficient in transparency; hence probably the Venetian practice of using black glass, which, by juxtaposition in small pieces, would certainly tend to give the appearance of greater transparency to the coloured.
We know not if there has been any great advance in the art of gilding, from early times to the present, though that of gold-beating has been brought to far greater perfection. Gold was extensively used at a very early period in all kinds of decoration, and in the fifteenth century was lavishly employed on pictures. Seven thousand leaves of gold were used on the chapel of S. Jacopo de Pistoia. The gold, as well as some of the expensive colours, was commonly provided by the parties for whom pictures were painted. On mural paintings, leaves of tinfoil, covered with a yellow varnish, were substituted for gold. It would be curious to seek how some modern uses are indebted to the publication of old recipes. "In order to economise gold, the old masters had another invention, called 'porporino,' a composition made of quicksilver, tin, and sulphur, which produced a yellow metallic powder, that was employed instead of gold. The Bolognese MS. devotes a whole chapter to this subject. A substance of a similar nature is now in use in England, and is employed as a substitute for gold in coloured woodcuts and chromo-lithographs." Wax was used as a mordant in gilding. Its use as a vehicle in painting has been much discussed; it was known to the ancients as encaustic, and, in another form, has been strongly recommended by a modern painter of great ability, whose works are fair tests of its efficiency; and if we may believe the assertions with regard to the ancient practice of Greek and mediæval painters, there may be little reason to doubt its durability. But as it was certainly known and discarded by the old masters, even before the invention of Van Eyck in oil painting, we should reasonably conclude that it was inferior to other vehicles. There is a picture by Andrea Mantegna at Milan, painted in wax, on which Mrs Merrifield makes the following remarks: – "The picture is very perfect, the colours bright, and the touches sharp. The darks are laid on very thick, but the paint appears to have run into spots or streaks, as if it had been touched with something which had touched the surface. It is said, however, that it has never been repaired, and its authenticity is stated to be undoubted. It is evident that the wax has been used liquid, for if the colours had been fused by the application of heat, the sharpness and precision of touch for which this picture, in common with other paintings of this period, is remarkable, would have been lost and melted down. The vehicle, whatever it was, appeared to me to have been as manageable as that of Van Eyck." Mrs Merrifield refers to Mr Eastlake's Materials for the fullest account of all that pertains to wax-painting. We would refer also to his Reports of the Commission on the Fine Arts for further detail.10
After some interesting accounts of statue-painting, the propriety of which has been so ably discussed by Mr Eastlake, and a few words on implements used in painting, Mrs Merrifield treats of leather, niello, and dyeing. The first of these leads her to lament the practice of the monks "during the dark ages;" who, to the supposed loss of many classic works, found out that, according to the old proverb, there is "nothing like leather." We would recommend her to become a little more acquainted with the real history of the monks during "the dark ages," their actual habits and manners, rather than trust, as we fear has been the case, to authors who have only misrepresented them. She will find matter even as interesting as the documents discovered respecting their arts and inventions. However there may be cause for lamenting the misuse of parchments which had been written on, and their conversion into waistcoats for warriors, and sandals for monks, there was no need to fit the said sandals on "the sleek and well-fed monks;" for certainly, if they were as described, they would have worn out the fewer, as "sleek and well-fed" means but fat and lazy. It would be hard to find any now who, equally with them, were given to fasting and prayer. Indeed, the very arts which they practised, into which Mrs Merrifield has made research, should, we think, rescue them from the common ill report.
Leather was used for hangings, at first only behind the seats of the owner of the house, subsequently round the room, and stamped and gilt, and ornamented with tinfoil. We doubt if our modern papers, even the "artistic," are an improvement. The old principle in furniture was richness of effect, a depth, a home-warmth both in substance and colour; the modern inferior taste is, or has been recently, for all that is light, gaudy, and flimsy. We should not be sorry to see the revival of leather hangings, as, in point of richness and look of comfort – a great thing in a room – far superior to paper. There is perhaps no very great beauty in niello, nor much cause for regret that it has fallen into disuse; yet, unimportant as it is in itself, it is the parent of the most delightful, the most useful invention – engraving. Nigellum or niello was known to the ancients, and practised during the middle ages: it is only known now by specimens in museums. Yet we think there has been an attempt to revive it in Russia. We have seen a specimen, but it was very coarsely executed.
Dyeing appears, during the middle ages, to have been the trade of the Jews. It is not ascertained at what period it was introduced into England. It is said that, in the reign of Henry III., woollen cloth was worn white, for lack of the art of dyeing – though this is doubted, as, woad having been imported in the time of John, it might be implied that dyeing was known. Before the introduction of printing-blocks, the practice of painting linen cloth intended for wearing-apparel, with devices, flowers, and various ornaments, in imitation of embroidery, was common in England. To what great results has this little dress-vanity led! How much of our commercial prosperity has its very origin in a taste condemned by the serious as frivolous! The love of ornament is an instinct, and they are slanderers of Nature in all her works, and in man's inventive mind, who would insert it in the calendar of deadly sins. There is perhaps another love, the love of profit, of a more ambiguous character: we believe there are not a few who would have made a "drab creation" of this beautiful world, now from their cotton-printing mills sending forth, by millions upon millions of yards, this "frivolous vanity" to the ends of the earth. It may be questioned if Penn's merchandise, as the bales were unpacked, would have passed the custom-house of a white conscience. Have poor Indians been as unscrupulously corrupted as cheated?
By far the greater portion of the introduction takes up the subject of oil-painting, which was the chief object of the commission. We have already spoken of the result, as well as of the little reliance to be placed upon the experience of modern painters and restorers in the country of the old masters. They flatly contradict each other. Even as to method, did Titian paint first with cold colours? One affirms, another denies. There is much evidence that the Venetian painters were more sparing than others in the use of ultramarine. Their principal blue, it appears, was azzurro della Magna, (German blue.) The receipts for making azures are numerous. Blue is the most important of our colours; it is well, therefore, that the attention of our colour-makers should be particularly directed to it. We have often felt sure, on looking at Venetian pictures, that the blues generally were not ultramarine – the beauty of which colour, great as it is, does not bear the mixture with a body of white lead with impunity – it must be used thin. One of the artists consulted said, "The Venetians never used ultramarine, which inclined too much to the violet." Though he is wrong in "never," for there is proof to the contrary, in reference to their general practice he may be right, as also for their cause of setting it aside. The very glowing, warm, general tones of the Venetians – of Titian and Giorgione especially – required a warmer blue, if we may be allowed to apply such an epithet – for we are aware that most classifiers of colours say that it is always cold; and we remember the old controversy on the subject, which Gainsborough endeavoured not unsuccessfully to decide, by painting his now celebrated picture, called the "Blue Boy." Contrary to the opinion of many artists, we are inclined to agree with Mr Field, whose chemical knowledge and experience should have great weight, that the modern colour "Prussian blue," if well prepared, is one of much value. It is certainly the most powerful – not, however, to be recommended for the clear azure of a sky. We should be glad to know the opinion of Mr Eastlake with regard to the modern ultramarine, said to be made after an analysis of the real substance. Though it belongs not to his investigation of the old practice, a note upon the subject would be very acceptable. If our blues and our chromes are permanent colours, we have little to regret in the (supposed) loss of many used by the old masters.