CLIII
COPY ON CANVAS IN OIL OF THE DORIA CORREGGIO IN THE PALAZZO PASQUA
It seems painted in (their) juicy, fat colour, the parts completed one after another upon the bare pannel, the same as frescoes upon the flattened wall. Simplicity of tint and of colour prevails; no staining or mottled varieties: the flesh, both in light and shadow, is produced by one mixed up tint so melted that no mark of the brush is seen. There is here no scratching or scumbling—no repetitions; all seems prepared at once for the glaze, which, simple as the painting is, gives to it with fearless hand the richness and glow of Correggio. All imitations of this master are complicated compared to this, and how complicated and abstruse does it make all attempts of the present day to give similar effects in colouring! Here is one figure in outline upon the prepared board, with even the finger-marks in colour of the painter himself. Here is the preparation of the figures painted up at once, and, strange to say, with solid and even sunny colours. Here are the heads of a woman and of a naked child, completed with the full zest and tone of Correggio, in texture fine, and in expression rich and luxurious, and as fine an example of his powers as any part to be found in his most celebrated work.
Wilkie.
CLIV
In a modern exhibition pictures lose by tone at first glance, but in the Louvre pictures gained, and Titian, Correggio, Rubens, Cuyp, and Rembrandt combated everything by the depth of their tones; and one still hopes that, when toning is successfully done, it will prevail.
You have now got your exhibition open in Edinburgh: do you find tone and depth an advantage there or not? Painting bright and raw, if one can find in his heart to lower and glaze it afterwards, is always satisfactory; but unless strength can be combined with this, it will never be the fashion in our days.
Wilkie.