Now we make this quotation, which is not creditable to Sandrart, to remove if we may its sting: for who would wish this moral stigma to rest upon the character of so great a man as Rubens? We have no doubt the advice was conscientiously given, and with a true accurate judgment of the powers of Jordaens. We can easily imagine that the heavy handling, the somewhat muddy loading of the colour in every part of the pictures of Jordaens, must have been offensive to Rubens, who so delighted in the freer, fresher, and more variable colouring and handling. And such is the judgment which the present day passes upon Jordaens, to the depreciation of his works, and in vindication of the advice of Rubens.
As both amber and sandarac had a tendency to darken the colours, "a lighter treatment," Mr Eastlake adds, "has rarely been successful without a modification of the vehicle itself." In treating more fully of the Italian methods, we shall probably have many recipes for this purpose. We are, however, in possession of a recipe of this kind described by Armenini of Faenga about the middle of the sixteenth century, as used by Correggio and Parmigiano. His authorities, he informs us, for so designating it were the immediate scholars of those masters; and he states that he had himself witnessed its general use throughout Lombardy by the best painters. His description is as follows. "Some took clear fir turpentine, dissolved it in a pipkin on a very moderate fire; when it was dissolved, they added an equal quantity of petroleum, (naptha,) throwing it in immediately on removing the liquified turpentine." A long note is appended upon this varnish or 'olio d'abezzo,' with a very interesting note by an Italian writer of the present century, who attributes the preservation of Corregio's pictures to its use. He adds also his own experience. Having applied this varnish to four old pictures, he proceeds:—
"After an interval of more than thirty years, those pictures have not only retained their freshness, but it seems that the colours, and especially the whites, have become more agreeable to the eye, exhibiting, not indeed the lustre of glass, but a clearness like that of a recently painted picture, and without yellowing in the least. I also applied the varnish on the head of all Academy figure, painted by me about five-and-twenty years since. On the rest of the figure I made experiments with other varnishes and glazings. This head surpasses all the other portions in a very striking manner; it appears freshly painted, and still moist with oil, retaining its tints perfectly. The coat of varnish is extremely thin, yet, on gently washing the surface, it has not suffered. The lustre is uniform; it is not the gloss of enamel or glass, but precisely that degree of shine which is most desirable in a picture."
Mr Eastlake enters upon a dissertation on the Italian and Flemish modes of painting, discriminating the transparency by glazing, and the transparency by preserving the light grounds. The ground does not appear throughout the pictures of Correggio, universally so in those of Rubens and most of the Flemish and Dutch schools. Both methods have their peculiar value. We should be sorry to see the substantial richness of Correggio, with his pearly grays seen under a body of transparent colouring, exchanged even for the free first sketchy getting in of the subject by Rubens. On this part of the subject it is scarcely wise to give a decided opinion. Every artist will adapt either method to his own power, his own conceptions, and intentions. Rembrandt struck out a method strictly belonging to neither system, with a partial use of each. He would be unwise who would attempt to limit the power of the palette—we speak here only of its materials.
At the end of the volume are extracts from the notes of Sir Joshua Reynolds. They are extremely interesting, both from their examples of success, and warnings by failure. We cannot help reflecting, on reading these notes, upon the great importance of such a work as Mr Eastlake's. Had Sir Joshua Reynolds been in possession of such a volume, how many of his pictures, now perished and perishing, would have been preserved for immortality! and how much better might even the best have been by the certainty of means which would have been within his reach! and we should not have had to regret, as we often do in looking at some of his best pictures, that somewhat heavy labouring after a brilliancy and a power not always compatible, and perhaps not then attainable, which shows that his mind was thoroughly imbued with a full sense of the excellency of the great masters, but that he wanted such a work as the learning, the research, and discriminating judgment of Mr Eastlake now offers for the study and practice of every professor of the art. To these notes are added some interesting remarks by our author upon the effects of the recipes with which the pictures were painted, as they are now visible in the works themselves.
This book could not have appeared at a more fit time. The English school is becoming of too great importance to waste any of its powers any longer in the perishing and weak materials of our various meguilps; and the German school may be arrested by it in their backward progress to the old, quaint, dry method which the old masters themselves quitted as soon as the improvements of the Van Eycks, and the modifications of those improvements by their successors, established upon a basis for immortality painting in oil.
We must forbear, lest our readers may be wearied with the name of varnish, and may think we resemble that unfortunate painter, who, bewildering his wits upon the subject, became deranged, and varnished his clothes with turpentine varnish, and went in this state shining through the streets.