DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0195
DISPOSITION.
181
stumps of trees, weeds, and animals of various kinds; and afterwards designed them, not from
memory, but immediately from the objects themselves. He even framed a kind of model of
landscapes on his table, composed of broken stones, dried herbs, and pieces of looking-glass,
which he-magnified and improved into rocks, trees, and water.
How far this practice may be useful in giving hints, the professors of landscape can best de-
termine ; for, like every other technical practice, its value must depend on the talent of the artist
who uses it.
By experiments with candle or lamp-light however the student may come to know, with some
degree of certainty, whether the chiar-oscuro which he has formed in his mind really correspond.?
with the truth of things. By changing the elevation and direction of the light, he may discover
such accidental effects as may highly recommend his productions, and even establish a proper
system for illuminating them ; and he will not find it difficult afterwards to modify the qualities
of his colours, by softening or strengthening them, according to the circumstances of the scene
he exhibits, and the nature of the light introduced. If the piece should represent a candle or
lamp-light scene, then he could have only to consider well his model, and to copy it.
On the practice of painting in general by night Sir Joshua Reynolds says:—" I am much,
inclined to believe that this is a practice very advantageous and improving to an artist: for by
this way he will acquire a new and a higher perception of what is great and beautiful in nature.
By candle-light not only objects appear more beautiful, but from their being in a greater breadth
of light and shadow, as well as having a greater breadth and uniformity of colour, nature appears
in a higher style : and even the flesh seems to take a higher and richer tone of colour. Judge-
ment is to direct us in the use to be made of this method of study ; but the method itself is, I am
very sure, advantageous.
(t I have often imagined that the two great colourists Titian and Correggio, though I do not
know that they painted by night, formed their high ideas of colouring, from the effects of objects
by this artificial light: but I am more assured that whoever attentively studies the first and best
manner of Guercino, will be convinced that he either painted by this light, or formed his manner
on this conception."
In forming a group with elegance some have recommended the bunch of grapes of Titian.
As of the many grapes composing the bunch, some are struck immediately by the light, whilst
the intermediate ones partake of both light and shade, in a greater or less degree; so, according
to that great master of painting, the figures in a group should be disposed in such a manner that,
by the effects of the chiar-oscuro, the several component parts of the group should appear to
form one whole. i\nd, in fact, it is only in this way that we can account for the grand effect
of Titian's works, in which the student ought carefully to study and imitate him.
To this purpose Fresnoy says
<e The sculptured forms which some proud circus grace,
In Parian marble, or Corinthian brass,
jllumin'd thus, give to the gazing eye
Th' expressive head, in radiant majesty,
While to each lower limb the fainter ray
Lends only light to mark, but not display;
3 A
181
stumps of trees, weeds, and animals of various kinds; and afterwards designed them, not from
memory, but immediately from the objects themselves. He even framed a kind of model of
landscapes on his table, composed of broken stones, dried herbs, and pieces of looking-glass,
which he-magnified and improved into rocks, trees, and water.
How far this practice may be useful in giving hints, the professors of landscape can best de-
termine ; for, like every other technical practice, its value must depend on the talent of the artist
who uses it.
By experiments with candle or lamp-light however the student may come to know, with some
degree of certainty, whether the chiar-oscuro which he has formed in his mind really correspond.?
with the truth of things. By changing the elevation and direction of the light, he may discover
such accidental effects as may highly recommend his productions, and even establish a proper
system for illuminating them ; and he will not find it difficult afterwards to modify the qualities
of his colours, by softening or strengthening them, according to the circumstances of the scene
he exhibits, and the nature of the light introduced. If the piece should represent a candle or
lamp-light scene, then he could have only to consider well his model, and to copy it.
On the practice of painting in general by night Sir Joshua Reynolds says:—" I am much,
inclined to believe that this is a practice very advantageous and improving to an artist: for by
this way he will acquire a new and a higher perception of what is great and beautiful in nature.
By candle-light not only objects appear more beautiful, but from their being in a greater breadth
of light and shadow, as well as having a greater breadth and uniformity of colour, nature appears
in a higher style : and even the flesh seems to take a higher and richer tone of colour. Judge-
ment is to direct us in the use to be made of this method of study ; but the method itself is, I am
very sure, advantageous.
(t I have often imagined that the two great colourists Titian and Correggio, though I do not
know that they painted by night, formed their high ideas of colouring, from the effects of objects
by this artificial light: but I am more assured that whoever attentively studies the first and best
manner of Guercino, will be convinced that he either painted by this light, or formed his manner
on this conception."
In forming a group with elegance some have recommended the bunch of grapes of Titian.
As of the many grapes composing the bunch, some are struck immediately by the light, whilst
the intermediate ones partake of both light and shade, in a greater or less degree; so, according
to that great master of painting, the figures in a group should be disposed in such a manner that,
by the effects of the chiar-oscuro, the several component parts of the group should appear to
form one whole. i\nd, in fact, it is only in this way that we can account for the grand effect
of Titian's works, in which the student ought carefully to study and imitate him.
To this purpose Fresnoy says
<e The sculptured forms which some proud circus grace,
In Parian marble, or Corinthian brass,
jllumin'd thus, give to the gazing eye
Th' expressive head, in radiant majesty,
While to each lower limb the fainter ray
Lends only light to mark, but not display;
3 A