On the Old Road Volume I Part 6

_Proemium_ is not "price," nor is the verb understood before _retributionem_ "send." Mr. Hendrie seems even less familiar with Scriptural than with monkish language, or in this and several other cases he would have recognized the adoption of apostolic formulae. The whole paragraph is such a greeting and prayer as stands at the head of the sacred epistles:--"Theophilus, to all who desire to overcome wandering of the soul, etc., etc. (wishes) recompense of heavenly reward." Thus also the dedication of the Byzantine ma.n.u.script, lately translated by M. Didron, commences "A tous les peintres, et a tous ceux qui, aimant l'instruction, etudieront ce livre, salut dans le Seigneur."

So, presently afterwards, in the sentence, "divina dignatio quae dat omnibus affluenter et non improperat" (translated, "divine _authority_ which affluently and not precipitately gives to all"), though Mr.

Hendrie might have perhaps been excused for not perceiving the transitive sense of _dignatio_ after _indignus_ in the previous text, which indeed, even when felt, is sufficiently difficult to render in English; and might not have been aware that the word _impropero_ frequently bears the sense of _opprobo_; he ought still to have recognized the Scriptural "who giveth to all men liberally and _upbraideth_ not." "Qui," in the first page, translated "wherefore,"

mystifies a whole sentence; "ut mereretur," rendered with a schoolboy's carelessness "as he merited," reverses the meaning of another; "jactantia," in the following page, is less harmfully but not less singularly translated "jealousy." We have been obliged to alter several expressions in the following pa.s.sages, in order to bring them near enough to the original for our immediate purpose:

"Which knowledge, when he has obtained, let no one magnify himself in his own eyes, as if it had been received from himself, and not from elsewhere; but let him rejoice humbly in the Lord, from whom and by whom are all things, and without whom is nothing; nor let him wrap his gifts in the folds of envy, nor hide them in the closet of an avaricious heart; but all pride of heart being repelled, let him with a cheerful mind give with simplicity to all who ask of him, and let him fear the judgment of the Gospel upon that merchant, who, failing to return to his lord a talent with acc.u.mulated interest, deprived of all reward, merited the censure from the mouth of his judge of 'wicked servant.'

"Fearing to incur which sentence, I, a man unworthy and almost without name, offer gratuitously to all desirous with humility to learn, that which the divine condescension, which giveth to all men liberally and upbraideth not, gratuitously conceded to me: and I admonish them that in me they acknowledge the goodness, and admire the generosity of G.o.d; and I would persuade them to believe that if they also add their labor, the same gifts are within their reach.

"Wherefore, gentle son, whom G.o.d has rendered perfectly happy in this respect, that those things are offered to thee gratis, which many, plowing the sea waves with the greatest danger to life, consumed by the hards.h.i.+p of hunger and cold, or subjected to the weary servitude of teachers, and altogether worn out by the desire of learning, yet acquire with intolerable labor, covet with greedy looks this 'BOOK OF VARIOUS ARTS,' read it through with a tenacious memory, embrace it with an ardent love.

"Should you carefully peruse this, you will there find out whatever Greece possesses in kinds and mixtures of various colors; whatever Tuscany knows of in mosaic-work, or in variety of enamel; whatever Arabia shows forth in work of fusion, ductility, or chasing; whatever Italy ornaments with gold, in diversity of vases and sculpture of gems or ivory; whatever France loves in a costly variety of windows; whatever industrious Germany approves in work of gold, silver, copper, and iron, of woods and of stones.

"When you shall have re-read this often, and have committed it to your tenacious memory, you shall thus recompense me for this care of instruction, that as often as you shall have successfully made use of my work, you pray for me for the pity of Omnipotent G.o.d, who knows that I have written these things, which are here arranged, neither through love of human approbation, nor through desire of temporal reward, nor have I stolen anything precious or rare through envious jealousy, nor have I kept back anything reserved served for myself alone; but in augmentation of the honor and glory of His name, I have consulted the progress and hastened to aid the necessities of many men."--_Ib._ pp.

xlvii.-li.

109. There is perhaps something in the naive seriousness with which these matters of empiricism, to us of so small importance, are regarded by the good monk, which may at first tempt the reader to a smile. It is, however, to be kept in mind that some such mode of introduction was customary in all works of this order and period. The Byzantine MS., already alluded to, is prefaced still more singularly: "Que celui qui veut apprendre la science de la peinture commence a s'y preparer d'avance quelque temps en dessinant sans relache ... puis qu'il adresse a Jesus Christ la priere et oraison suivante," etc.:--the prayer being followed by a homily respecting envy, much resembling that of Theophilus. And we may rest a.s.sured that until we have again begun to teach and to learn in this spirit, art will no more recover its true power or place than springs which flow from no heavenward hills can rise to useful level in the wells of the plain. The tenderness, tranquillity, and resoluteness which we feel in such men's words and thoughts found a correspondent expression even in the movements of the hand; precious qualities resulted from them even in the most mechanical of their works, such as no reward can evoke, no academy teach, nor any other merits replace. What force can be summoned by authority, or fostered by patronage, which could for an instant equal in intensity the labor of this humble love, exerting itself for its own pleasure, looking upon its own works by the light of thankfulness, and finis.h.i.+ng all, offering all, with the irrespective profusion of flowers opened by the wayside, where the dust may cover them, and the foot crush them?

110. Not a few pa.s.sages conceived in the highest spirit of self-denying piety would, of themselves, have warranted our sincere thanks to Mr.

Hendrie for his publication of the ma.n.u.script. The practical value of its contents is however very variable; most of the processes described have been either improved or superseded, and many of the recipes are quite as ill.u.s.trative of the writer's credulity in reception, as generosity in communication. The references to the "land of Havilah" for gold, and to "Mount Calybe" for iron, are characteristic of monkish geographical science; the recipe for the making of Spanish gold is interesting, as affording us a clew to the meaning of the mediaeval traditions respecting the basilisk. Pliny says nothing about the hatching of this chimera from c.o.c.ks' eggs, and ascribes the power of killing at sight to a different animal, the catoblepas, whose head, fortunately, was so heavy that it could not be held up. Probably the word "basiliscus" in Theophilus would have been better translated "c.o.c.katrice."

"There is also a gold called Spanish gold, which is composed from red copper, powder of basilisk, and human blood, and acid. The Gentiles, whose skillfulness in this art is commendable, make basilisks in this manner. They have, underground, a house walled with stones everywhere, above and below, with two very small windows, so narrow that scarcely any light can appear through them; in this house they place two old c.o.c.ks of twelve or fifteen years, and they give them plenty of food.

When these have become fat, through the heat of their good condition, they agree together and lay eggs. Which being laid, the c.o.c.ks are taken out and toads are placed in, which may hatch the eggs, and to which bread is given for food. The eggs being hatched, chickens issue out, like hens' chickens, to which after seven days grow the tails of serpents, and immediately, if there were not a stone pavement to the house, they would enter the earth. Guarding against which, their masters have round bra.s.s vessels of large size, perforated all over, the mouths of which are narrow, in which they place these chickens, and close the mouths with copper coverings and inter them underground, and they are nourished with the fine earth entering through the holes for six months. After this they uncover them and apply a copious fire, until the animals' insides are completely burnt. Which done, when they have become cold, they are taken out and carefully ground, adding to them a third part of the blood of a red man, which blood has been dried and ground.

These two compositions are tempered with sharp acid in a clean vessel; they then take very thin sheets of the purest red copper, and anoint this composition over them on both sides, and place them in the fire.

And when they have become glowing, they take them out and quench and wash them in the same confection; and they do this for a long time, until this composition eats through the copper, and it takes the color of gold. This gold is proper for all work."--_Ib._ p. 267.

Our readers will find in Mr. Hendrie's interesting note the explanation of the symbolical language of this recipe; though we cannot agree with him in supposing Theophilus to have so understood it. We have no doubt the monk wrote what he had heard in good faith, and with no equivocal meaning; and we are even ourselves much disposed to regret and resist the transformation of toads into nitrates of potash, and of basilisks into sulphates of copper.

111. But whatever may be the value of the recipes of Theophilus, couched in the symbolical language of the alchemist, his evidence is as clear as it is conclusive, as far as regards the general processes adopted in his own time. The treatise of Peter de St. Audemar, contained in a volume transcribed by Jehan le Begue in 1431, bears internal evidence of being nearly coeval with that of Theophilus. And in addition to these MSS., Mr. Eastlake has examined the records of Ely and Westminster, which are full of references to decorative operations. From these sources it is not only demonstrated that oil-painting, at least in the broadest sense (striking colors mixed with oil on surfaces of wood or stone), was perfectly common both in Italy and England in the 12th, 13th, and 14th centuries, but every step of the process is determinable. Stone surfaces were primed with white lead mixed with linseed oil, applied in successive coats, and carefully smoothed when dry. Wood was planed smooth (or, for delicate work, covered with leather of horse-skin or parchment), then coated with a mixture of white lead, wax, and pulverized tile, on which the oil and lead priming was laid. In the successive application of the coats of this priming, the painter is warned by Eraclius of the danger of letting the superimposed coat be more oily than that beneath, the shriveling of the surface being a necessary consequence.

"The observation respecting the cause, or one of the causes, of a wrinkled and shriveled surface, is not unimportant. Oil, or an oil varnish, used in abundance with the colors over a perfectly dry preparation, will produce this appearance: the employment of an oil varnish is even supposed to be detected by it.... As regards the effect itself, the best painters have not been careful to avoid it. Parts of t.i.tian's St. Sebastian (now in the Gallery of the Vatican) are shriveled; the Giorgione in the Louvre is so; the drapery of the figure of Christ in the Duke of Wellington's Correggio exhibits the same appearance; a Madonna and Child by Reynolds, at Petworth, is in a similar state, as are also parts of some pictures by Greuze. It is the reverse of a cracked surface, and is unquestionably the less evil of the two."--"Eastlake," pp. 36-38.

112. On the white surface thus prepared, the colors, ground finely with linseed oil, were applied, according to the advice of Theophilus, in not less than three successive coats, and finally protected with amber or sandarac varnish: each coat of color being carefully dried by the aid of heat or in the sun before a second was applied, and the entire work before varnis.h.i.+ng. The practice of carefully drying each coat was continued in the best periods of art, but the necessity of exposure to the sun intimated by Theophilus appears to have arisen only from his careless preparation of the linseed oil, and ignorance of a proper drying medium. Consequent on this necessity is the restriction in Theophilus, St. Audemar, and in the British Museum MS., of oil-painting to wooden surfaces, because movable panels could be dried in the sun; while, for walls, the colors are to be mixed with water, wine, gum, or the usual tempera vehicles, egg and fig-tree juice; white lead and verdigris, themselves dryers, being the only pigments which could be mixed with oil for walls. But the MS. of Eraclius and the records of our English cathedrals imply no such absolute restriction. They mention the employment of oil for the painting or varnis.h.i.+ng of columns and interior walls, and in quant.i.ty very remarkable. Among the entries relating to St. Stephen's chapel, occur--"For 19 flagons of painter's oil, at 3_s._ 4_d._ the flagon, 43_s._ 4_d._" (It might be as well, in the next edition, to correct the copyist's reverse of the position of the X and L, lest it should be thought that the principles of the science of arithmetic have been progressive, as well as those of art.) And presently afterwards, in May of the same year, "to John de Hennay, for _seventy_ flagons and a half of painter's oil for the painting of the same chapel, at 20_d._ the flagon, 117_s._ 6_d._" The expression "painter's oil" seems to imply more careful preparation than that directed by Theophilus, probably purification from its mucilage in the sun; but artificial heat was certainly employed to a.s.sist the drying, and after reading of flagons supplied by the score, we can hardly be surprised at finding charcoal furnished by the cartload--see an entry relating to the Painted Chamber. In one MS. of Eraclius, however, a distinct description of a drying oil in the modern sense, occurs, white lead and lime being added, and the oil thickened by exposure to the sun, as was the universal practice in Italy.

113. Such was the system of oil-painting known before the time of Van Eyck; but it remains a question in what kind of works and with what degree of refinement this system had been applied. The pa.s.sages in Eraclius refer only to ornamental work, imitations of marble, etc.; and although, in the records of Ely cathedral, the words "pro ymaginibus super columnas depingendis" may perhaps be understood as referring to paintings of figures, the applications of oil, which are distinctly determinable from these and other English doc.u.ments, are merely decorative; and "the large supplies of it which appear in the Westminster and Ely records indicate the coa.r.s.eness of the operations for which it was required." Theophilus, indeed, mentions tints for faces--_mixturas vultuum_; but it is to be remarked that Theophilus painted with a liquid oil, the drying of which in the sun he expressly says "in _ymaginibus_ et aliis picturis diuturnum et taediosum nimis est." The oil generally employed was thickened to the consistence of a varnish. Cennini recommends that it be kept in the sun until reduced one half; and in the Paris copy of Eraclius we are told that "the longer the oil remains in the sun the better it will be." Such a vehicle entirely precluded delicacy of execution.

"Paintings entirely executed with the thickened vehicle, at a time when art was in the very lowest state, and when its votaries were ill qualified to contend with unnecessary difficulties, must have been of the commonest description. Armorial bearings, patterns, and similar works of mechanical decoration, were perhaps as much as could be attempted.

"Notwithstanding the general reference to flesh-painting, 'e cos fa dello incarnare,' in Cennini's directions, there are no certain examples of pictures of the fourteenth century, in which the flesh is executed in oil colors. This leads us to inquire what were the ordinary applications of oil-painting in Italy at that time. It appears that the method, when adopted at all, was considered to belong to the complemental and merely decorative parts of a picture. It was employed in portions of the work only, on draperies, and over gilding and foils. Cennini describes such operations as follows. 'Gild the surface to be occupied by the drapery; draw on it what ornaments or patterns you please; glaze the unornamented intervals with verdigris ground in oil, shading some folds twice. Then, when this is dry, glaze the same color over the whole drapery, both ornaments and plain portions.'

"These operations, together with the gilt field round the figures, the stucco decorations, and the carved framework, tabernacle, or _ornamento_ itself of the picture, were completed first; the faces and hands, which in Italian pictures of the fourteenth century were always in tempera, were added afterwards, or at all events after the draperies and background were finished. Cennini teaches the practice of all but the carving. In later times the work was divided, and the decorator or gilder was sometimes a more important person than the painter. Thus some works of an inferior Florentine artist were ornamented with stuccoes, carving, and gilding, by the celebrated Donatello, who, in his youth, practiced this art in connection with sculpture. Vasari observed the following inscription under a picture:--'Simone Cini, a Florentine, wrought the carved work; Gabriello Saracini executed the gilding; and Spinello di Luca, of Arezzo, painted the picture, in the year 1385.'"--_Ib._ pp. 71, 72, and 80.

114. We may pause to consider for a moment what effect upon the mental habits of these earlier schools might result from this separate and previous completion of minor details. It is to be remembered that the painter's object in the backgrounds of works of this period (universally, or nearly so, of religious subject) was not the deceptive representation of a natural scene, but the adornment and setting forth of the central figures with precious work--the conversion of the picture, as far as might be, into a gem, flushed with color and alive with light. The processes necessary for this purpose were altogether mechanical; and those of stamping and burnis.h.i.+ng the gold, and of enameling, were necessarily performed before any delicate tempera-work could be executed. Absolute decision of design was therefore necessary throughout; hard linear separations were unavoidable between the oil-color and the tempera, or between each and the gold or enamel.

General harmony of effect, aerial perspective, or deceptive chiaroscuro, became totally impossible; and the dignity of the picture depended exclusively on the lines of its design, the purity of its ornaments, and the beauty of expression which could be attained in those portions (the faces and hands) which, set off and framed by this splendor of decoration, became the cynosure of eyes. The painter's entire energy was given to these portions; and we can hardly imagine any discipline more calculated to insure a grand and thoughtful school of art than the necessity of discriminated character and varied expression imposed by this peculiarly separate and prominent treatment of the features. The exquisite drawing of the hand also, at least in outline, remained for this reason even to late periods one of the crowning excellences of the religious schools. It might be worthy the consideration of our present painters whether some disadvantage may not result from the exactly opposite treatment now frequently adopted, the finis.h.i.+ng of the head before the addition of its accessories. A flimsy and indolent background is almost a necessary consequence, and probably also a false flesh-color, irrecoverable by any after-opposition.

115. The reader is in possession of most of the conclusions relating to the practice of oil-painting up to about the year 1406.

"Its inconveniences were such that tempera was not unreasonably preferred to it for works that required careful design, precision, and completeness. Hence the Van Eycks seem to have made it their first object to overcome the stigma that attached to oil-painting, as a process fit only for ordinary purposes and mechanical decorations. With an ambition partly explained by the previous coa.r.s.e applications of the method, they sought to raise wonder by surpa.s.sing the finish of tempera with the very material that had long been considered intractable. Mere finish was, however, the least of the excellences of these reformers.

The step was short which sufficed to remove the self-imposed difficulties of the art; but that effort would probably not have been so successful as it was, in overcoming long-established prejudices, had it not been accompanied by some of the best qualities which oil-painting, as a means of imitating nature, can command."--_Ib._ p. 88.

116. It has been a question to which of the two brothers, Hubert or John, the honor of the invention is to be attributed. Van Mander gives the date of the birth of Hubert 1366; and his interesting epitaph in the cathedral of St. Bavon, at Ghent, determines that of his death:--

"Take warning from me, ye who walk over me. I was as you are, but am now buried dead beneath you. Thus it appears that neither art nor medicine availed me. Art, honor, wisdom, power, affluence, are spared not when death comes. I was called Hubert Van Eyck; I am now food for worms.

Formerly known and highly honored in painting; this all was shortly after turned to nothing. It was in the year of the Lord one thousand four hundred and twenty-six, on the eighteenth day of September, that I rendered up my soul to G.o.d, in sufferings. Pray G.o.d for me, ye who love art, that I may attain to His sight. Flee sin; turn to the best [objects]: for you must follow me at last."

John Van Eyck appears by sufficient evidence to have been born between 1390 and 1395; and, as the improved oil-painting was certainly introduced about 1410, the probability is greater that the system had been discovered by the elder brother than by the youth of 15. What the improvement actually was is a far more important question. Vasari's account, in the Life of Antonello da Messina, is the first piece of evidence here examined (p. 205); and it is examined at once with more respect and more advantage than the half-negligent, half-embarra.s.sed wording of the pa.s.sage might appear either to deserve or to promise.

Vasari states that "_Giovanni_ of Bruges," having finished a tempera-picture on panel, and varnished it as usual, placed it in the sun to dry--that the heat opened the joinings--and that the artist, provoked at the destruction of his work--

"began to devise means for preparing a kind of varnish which should dry in the shade, so as to avoid placing his pictures in the sun. Having made experiments with many things, both pure and mixed together, he at last found that linseed-oil and nut-oil, among the many which he had tested, were more drying than all the rest. These, therefore, boiled with _other mixtures of his_, made him the varnish which he, nay, which all the painters of the world, had long desired. Continuing his experiments with many other things, he saw that the immixture of the colors with these kinds of oils gave them a very firm consistence, which, when dry, was proof against wet; and, moreover, that the vehicle lit up the colors so powerfully, that it gave a gloss of itself without varnish; and that which appeared to him still more admirable was, that it allowed of blending [the colors] infinitely better than tempera.

Giovanni, rejoicing in this invention, and being a person of discernment, began many works."

117. The reader must observe that this account is based upon and clumsily accommodated to the idea, prevalent in Vasari's time throughout Italy, that Van Eyck not merely improved, but first introduced, the art of oil-painting, and that no mixture of color with linseed or nut oil had taken place before his time. We are only informed of the new and important part of the invention, under the pointedly specific and peculiarly Vasarian expression--"altre sue misture." But the real value of the pa.s.sage is dependent on the one fact of which it puts us in possession, and with respect to which there is every reason to believe it trustworthy, that it was in search of a _Varnish_ which would dry in the shade that Van Eyck discovered the new vehicle. The next point to be determined is the nature of the Varnish ordinarily employed, and spoken of by Cennini and many other writers under the familiar t.i.tle of Vernice liquida. The derivation of the word Vernix bears materially on the question, and will not be devoid of interest for the general reader, who may perhaps be surprised at finding himself carried by Mr. Eastlake's daring philology into regions poetical and planetary:--

"Eustathius, a writer of the twelfth century, in his commentary on Homer, states that the Greeks of his day called amber ([Greek: elektron]) Veronice ([Greek: beronike]). Salmasius, quoting from a Greek medical MS. of the same period, writes it Verenice ([Greek: berenike]). In the Lucca MS. (8th century) the word Veronica more than once occurs among the ingredients of varnishes, and it is remarkable that in the copies of the same recipes in the _Mappae Clavicula_ (12th century) the word is spelt, in the genitive, Verenicis and Vernicis.

This is probably the earliest instance of the use of the Latinized word nearly in its modern form; the original nominative Vernice being afterwards changed to Vernix.

"Veronice or Verenice, as a designation for amber, must have been common at an earlier period than the date of the Lucca MS., since it there occurs as a term in ordinary use. It is scarcely necessary to remark that the letter [Greek: beta] was sounded v by the mediaeval Greeks, as it is by their present descendants. Even during the cla.s.sic ages of Greece [Greek: beta] represented [Greek: phi] in certain dialects. The name Berenice or Beronice, borne by more than one daughter of the Ptolemies, would be more correctly written Pherenice or Pheronice. The literal coincidence of this name and its modifications with the Vernice of the middle ages, might almost warrant the supposition that amber, which by the best ancient authorities was considered a mineral, may, at an early period, have been distinguished by the name of a constellation, the constellation of Berenice's (golden) hair."--_Eastlake_, p. 230.