(γγ) The more insignificant the objects are, in comparison with the material of religion, which this particular phase of painting accepts for its content, to that very extent it is just this quality of artistic creation, the manner of observation, conception, elaboration, the vitality communicated by the artist to his work by all his individual faculties, in short the soul and living enthusiasm of his execution, which constitute a prominent aspect of its interest, and are part of its content. That which the subject treated is under his workmanship must, however, substantially remain what it is in fact and is capable of being. We believe, indeed, that we look upon something different, and novel, because in actual life we do not pay the same detailed attention to similar situations, and their manner of colouring. Looked at on the reverse side no doubt we have something, too, that is new added to such ordinary subjects, namely, just this very enthusiasm, artistic insight and spirit, the soul, in which the artist handles them, adapts them to his uses, and by doing so infuses the enthusiasm of his activity like the breath of a new life throughout all his work[280].
Such, then, are the essential points of view, which it was necessary to discuss in regard to the content of painting.
(b) The second aspect which we have next in order to examine is connected with the more particular modes of definition, to which the sensuous material, in so far as it has to accept in itself a given content, has to accommodate itself.
(α) The first of these of importance is the linear perspective. This is introduced as necessary, because painting has only the superficies at its disposal and no longer, as was the case with the bas-relief of antique sculpture, can extend its figures side by side on one and the same plane, but has to proceed to a mode of presentation, which finds it necessary to make the remoteness of its objects in all their spatial dimensions merely appear as such to our senses. For the art of painting has to unfold the content it selects, to place the same in its various movement before our eyes, and to associate in different ways its figures with the landscape of external Nature, its buildings and so forth, in a wholly distinct grade of literalness to that which sculpture in the relief is able to secure. And that which painting in this respect cannot place before us in its actual degree of remoteness in the realistic manner of sculpture it must present under the illusion of reality. What we have first to notice here consists in this that the single surface which confronts painting is divided into distinct planes, apparently remote from one another, and by this means the contrasts of a near foreground and a remote background are secured, which furthermore are linked together by means of a middle distance. Inasmuch as the objects are, the more distant they are from the vision, proportionately reduced in size, and this deduction follows in Nature itself optical laws capable of mathematical determination, the art of painting, too, has on its part to follow the same rules, which, by virtue of the fact that objects are set forth on one surface, are applicable here in a particular way. And this is the rational ground of the so-called linear or mathematical perspective in the art of painting, whose more detailed exposition, however, it is not our business here to discuss.
(β) In the second place, however, objects are not only placed at a certain distance from one another, but they also differ in shape. This particular mode of their spatial limitation by virtue of which every object is made visible in its particular form is the subject-matter of draughtsmanship. The art of drawing gives us for the first time not merely the comparative distance of objects from one another, but their respective configuration. Its most important principle is accuracy of form and relative distance, which of course in the first instance is not as yet associated with ideal[281] expression, but related simply to external appearance, and consequently forms the purely external framework[282], an accuracy, however, which, more particularly in the case of organic forms and their varied movements, is on account of the fore-shortenings thereby rendered necessary one of extreme difficulty. In so far as these two aspects are related purely to form and its spatial totality they constitute the plastic or sculpturesque features in painting, which this art, for the very reason that it expresses what is most ideal in its significance by means of external form, can as little dispense with as it can in another respect remain solely content with. For its supreme task is the employment of colour, and in such a way that in all that is truly painting distance and shape only attain and discover their genuine presentment by virtue of the distinctions of colour.
(γ) It is, therefore, colour, and the art of colouring, which make the painter a painter. We dwell with pleasure, no doubt, on the drawing, and exceptionally so on the study or sketch, as on that which pre-eminently betrays the quality of genius; but however rich with invention and imagination, with whatever directness the soul of an artist may assert itself in such studies by reason of the more transparent and mobile shell of their form, yet the fact remains to be painting we must have colour, if the work is not to continue abstract from the point of view of its sensuous material in the vital individuality and articulation of its objects. We must, however, at the same time admit that drawings and dry point drawings from the hand of great masters such as Raphael and Albrecht Dürer are of real importance. In fact from a certain point of view we may say that it is just these hand drawings which carry with them the finest interest. We find here the wonderful result that the entire spirit of the master is expressed directly in such manual facility, a facility which places with the greatest ease, in instantaneous work, without any preliminary essays, the essential substance of the master's conception. The border drawings of Dürer, for example, in the Prayer-book of the Munich library, are of indescribable ideality and freedom. Idea and execution appear in such a case to be one and the same thing, whereas in finished pictures we cannot avoid the sense that the consummate result is only secured after repeated over-paintings, a continuous process of advance and finish.
In despite of this, however, it is only through its employment of colour that the art of painting is able to give a real and vital presentment to the wealth of soul-life. All the schools of painting have, however, not retained the art of colouring at the same high level. It is a significant fact that we may, with an exception here and there, assert that it is only the Venetians and the Dutch[283] who have become consummate masters in their use of it. Both peoples were linked to the sea-coast, both situated on a low-lying land divided by fens, streams, and canals. In the case of the Dutch we may find an explanation in the fact that, on account of their having so perpetually a cloud-covered horizon, their conception of a gray background became fixed in their minds, and owing to this very gloomy prepossession they were the more driven to study colour in all its effects and variety of lighting, shadow, and chiaroscuro, to emphasize this and to discover in this the main task of their artistic efforts. In contrast to that of the Venetians and the Dutch the painting of the Italians generally, if we except that of Correggio and one or two others, appears to be more dry, sapless, cold, and lifeless. Looked at more closely we may emphasize the following points in connection with the art of colouring as the most important.
(αα) In the first place we have the abstract basis of all colour in light and dark. When we posit this contrast and its transitions by themselves without further distinctions of colour effect, we get thereby simply the contrasts supplied us by white as light and black as shadow together with their transitional grades and nuances, contrasts which offer to the art of drawing its integrating quality, appertaining as they do to the real plastic character of form, and producing the prominence, retreat, rondure, and distance of objects. We may incidentally mention in this connection the art of engraving on the plate which is wholly concerned with light and shadow as such[284]. Apart from the infinite assiduity and labour it implies we find in this highly valuable art, at the point of its supreme attainment, soul intimately associated with the utility of great variety of form[285], a variety which the art of bookbinding also possesses. Such an art, however, is not wholly occupied with effects of light and shade as that of simple draughtsmanship is; it endeavours further in its elaboration to become distinctly a rival of painting, and in addition to light and shade such as is purely the effect of illumination, also strives to express those distinctions of more emphatic light and darkness which are primarily the result of local colour; we find, for example, in a copperplate engraving that an attempt is made by its use of light effects to render visible the distinction between blond and black hair.
In painting, however, as already remarked, mere light and darkness only supply the fundamental basis, albeit such a foundation is of the greatest importance. For it is this contrast and only this which defines the comparative prominence and retirement, the rondure, and generally the actual appearance of form as sensuous shape, all that we understand by modelling. Masters of colour in this respect simply carry the process to the most extreme contrasts of the most brilliant light and the deepest shadow, and merely produce thereby their grand effects. Such contrasts are, however, only permissible in so far as they avoid harshness, that is, in so far as they are made within the limits of a just interplay of intermediate tones and colour transitions, which bind the entire composition in a fluid unity and render the finest gradations of tint possible. If such contrasts are entirely absent the entire effect will be flat, because it is precisely this distinction between that which is more brilliant and more obscure which gives emphatic prominence to particular aspects of the work and a like subordination to others. And especially in the case of compositions having a large content, and where the distance between objects is considerable, it is necessary to introduce the deepest shadow in order to make the scale of light and shadow a broad one.
With regard to the closer definition of light and shade we find that this depends more than anything else upon the mode of lighting accepted by the artist. The light of day, that of morning, noon, and evening, sunlight or moonlight, a clear or clouded sky, the light of tempest, candle-light, a light that is veiled, or falls upon the object or diffuses itself gradually, every conceivable mode of lighting, in short, is possible, and the cause of every kind of effect. In treating a subject of public interest, full of incident, a situation that at once appeals to our common sense, the question of external lighting is of subordinate importance. The artist will avail himself here with most advantage of ordinary daylight, if, that is, the demands of dramatic vividness, and a desire to emphasize particular figures and groups, or to throw into the background others, do not render a less usual mode of lighting necessary, which may fall in more readily with such objects.