But this principle can scarcely be said to be carried out, except in such pictures as possess the "cloistered tone" of Ludovico Caracci alluded to. Here the lights are warm and golden, as if transmitted through stained glass. The atmospheric greys are introduced to no greater extent than is indispensable to prevent the picture appearing rusty. The shadows are deep rich browns, into which are thrown still warmer reflections; and the whole picture is subdued to a soft-mysterious effect, which is admirably adapted to produce what is technically termed repose, and to excite gentle, reverential, solemn, and even affectionate feelings. It is a style of colouring peculiarly suited to religious subjects; and in representations of interiors, may be said to be like nature, because Nature may be made to appear like it. (See Plate.)
THE BIANCHI
This principle of colouring may be carried out on a higher scale than is generally found among the productions of its advocates, and abstractedly, is undoubtedly calculated to lead to very beautiful results; though it may be questioned, whether it is sufficient to entitle the party exclusively to arrogate to themselves the designation of colourists, as they are in the habit of doing. For the principle of the Bianchi is likewise adapted to produce exceedingly beautiful colouring; and without some rational or scientific standard by which the comparative beauty of individual colours may be determined, so as to distinguish between fine colours and fine colouring, the admirers of this class of colours may, with the greatest justice, contend that it is equally beautiful with that of the opposite party; while it has this superiority, that it will enable the Artist to produce much more resemblance in the representation of external nature, and will be much less artificial in the effects produced as imitation of interiors.
And they derive a strong argument in favour of their mode of proceeding being correct, and most likely to stand, from the circumstance, that the pictures of Vandyke, many of which are now claimed by the Neri as painted on their principle, when first done were frequently censured as being too raw or white.
Further, it should be observed that, by too many of the Neri party, their great object of worship, Tone, is limited to the rich warm brownish yellow which is legitimately superinduced in oil pictures by the action of Time, or glazing; and surreptitiously obtained by washing with tobacco-water. But an inspection of the works of the Dutch school, who belong to a third party which considers both the Bianchi and Neri to be in the wrong, as too artificial, will show that tone may be cool as well as warm, and that there is a silvery tone which has as devoted admirers as those of the Golden Image—(see Plates of Ruysdael and of Ostade).
THE DUTCH SCHOOL
It may not be becoming in the author of the present work to decide between these great disputants; but from the statement respecting Vandyke's pictures, that they were considered raw when fresh painted, as well as from the nature of the materials employed, it is evident, that the productions of Titian, Giorgione, and other celebrated colourists, were not, when first painted, of such deep tones as they exhibit now; and it may be suspected that the reputation, which was derived from the original colouring of their pictures, has, to a certain extent, been attached to the colouring they at present exhibit; and that veneration of talent, and respect for authority, have given sanction to what would be repudiated by the Great men whose names form the slogan of the party, and is not really entitled to commendation.
That the two principles may be combined, and so produce higher qualities than either affords alone, is hardly possible, when their opposite treatment of the effects of atmospheric influence and association are taken into consideration.