FINE ARTS.
REPORT OF THE ROYAL COMMISSION.
THE Report of the Commissioners on the Fine Arts, distributed with other Parliamentary Papers last week, is substantially a treatise on Fresco-painting, of a complete and practically useful kind, proper to be studied by every artist who has an idea of entering into the cartoon- competition. The Report itself is merely an official notification of the opinion that has been already acted upon by the Commissioners, and of the further course of proceeding announced in the advertisement of the competition : it is signed by Prince ALBERT and nearly all his brother members. The various papers constituting the Appendix are mostly drawn up by the Secretary, Mr. EASTLAKE : they contain valuable in- formation on the subject of fresco-painting, contributed by the great German artist PETER VON CORNELIUS, and others ; a summary of the methods described by Italian writers ; and a chemical inquiry into the qualities and preparation of lime for plaster. This technical matter is Introduced by a comprehensive but somewhat vague and misty view of "the general object of the Commission considered in relation to the state and prospects of the English School of Painting "; consisting of an apology for the defects of English painters, on the score of lack of en- couragement for the grand style ; a plea for state patronage of historical painting ; and an argument for the employment of fresco, as being cal- culated to develop the highest qualities of art, and also the most durable and effective mode of painting for decorative purposes.
The highest kind of painting can only be promoted by public as dis- tinguished from individual encouragement. Great size is essential to grandeur of conception and style ; designs on a colossal scale require to he viewed from a distance ; and these conditions are inconsistent with the introduction of large pictures into private dwellings. Cabinet- pictures may be beautiful in expression, but grand they cannot be. In small pictures the attentian is directed to details ; the focus of the mind as well as the eye is contracted to the minute scale of the pictorial beauties : you are apt to regard the means more than the end, because they are most apparent on a close inspection. But in large works, viewed from a distance, the executive skill and accessorial details are (or should be) subordinate to the expression of the grand idea ; as in the Cartoons of RAPHAEL, where the costume, backgrounds, and even the individual expression of character, are all subservient to the action. Mural paintings should be to easel-pictures what the drama is to poetry. The associations of place, too, should contribute towards the impres- sion on the mind.
Regarding art as a means of influencing mankind in a moral and re-
ligious sense, this becomes an important consideration. How much more impressive is the altar-piece of a church, even if an indifferent performance, than a much finer Scripture-piece in a picture-gallery. A painting representing the Chief Justice Gascoigne committing Prince Henry to prison for striking him on the bench, would be far more effective ornamenting a court of justice than in an exhibition, apart from its influence in inculcating respect for the judge's authority. So with respect to the contemplated designs for the new Houses of Parlia- ment: a judicious selection and allocation of subjects is only secondary in importance to their efficient design and execution. How far the designers of the British school will prove themselves adequate to the occasion, or deserving of state patronage, remains to be seen : we are most apprehensive that the ornamental will predominate, and the spirit of the conception be sacrificed to an accumulation of showy accessories. The artists should bear in mind, that although the paintings are intended to decorate the architecture, it is with creations of mind, not with imi- tations of material objects : the walls should seem instinct with life, character, and action—not merely gay with glittering pageantry.
With respect to the mode of painting to be adopted, the Commission- ers say—" We have not yet been able to satisfy ourselves that the art of fresco-painting has hitherto been sufficiently cultivated in this country to justify us in at once recommending that it should be so employed." But the bias of the Commission is evidently in favour of fresco; and
the evidence brought to bear on this point is conclusive as to its being the fittest medium for the purpose. Its very difficulties are reiaommen- dations ; for, it is well remarked by Mr. EASTLAKE, "As the res urces of art become circumscribed, the artist's aim becomes elevated."
difficulties, however, be observes, "are not those of the mere meth•but arise from the necessity of an especial attention to those qualities \ which rank highest in art" ; and fresco is therefore fitted "to embody those inventions which belong essentially to the domain of thought." "As a mode of decoration for public buildings," he continues, "it has peculiar recommendations : no style of painting is more clear, distinct, and effective at a distance." And it is not unreasonable to suppose, with Mr. EASTLAKE, "that the great skill of the English artists in water- colours might be the means of introducing new technical merits and a new perfection in the practice of colouring in fresco, which might again directly benefit the school of oil-painters." "Cornelius is de- cidedly of opinion that fresco should be preferred to oil-painting," it bing "on every account fittest for monumental permanent works in public buildings, in which painting is to be considered as the handmaid of architecture." "He thinks the situation unobjectionable," and " has no idea that the damp of the river can have any effect on fresco-paintings in rooms elevated above the level of the water ": "the damp which in his opinion is really prejudicial, is that which is occasioned by the use of unseasoned materials; new timber, imperfectly-burnt bricks, &e. The nitre, so destructive to fresco, he supposes to originate from the stones of the wall rather than from the mortar ; and to obviate this, it is desirable that the building should be let to dry itself well before painting the walls." Brick or tile is to be preferred as ground for the mortar. As regards smoke, Professor Hess remarked, that "if fresco were painted in the open air in London, the rain would be the best picture-cleaner "; and Mr. Trrolues BARKER of Bath, who painted a large fresco in that city some years since, writes thus—" To clean fresco from smoke, I know of no mode so simple and efficacious as a soft sponge and pure water." Dr. REID, on being applied to for his opinion as to the liability of fresco to injury from gas, negatives the supposition. The great danger is from within, not from without : the state of the wall, and the qualities of the lime used in making the plaster, are the chief sources of injury ; and these, being known, can be guarded against. Flues in the wall are as destructive as damp. The preparation of lime is the most delicate and important matter, the durability of the colours and the surface depending on its chemical condition. In short, with due pre- caution in the preparation of the wall, fresco is more durable, and, from its power of reflecting light, better adapted to interior decoration, than any other mode of painting.
se
Previous page
