DOI Heft:
No. 54 (September, 1897)
DOI Artikel:Schäfer, Henry Thomas: The colouring of the Venetians
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18389#0250
The- Colouring of the Venetians
unity of tone throughout
the picture which the
modern spectator has
learned to love and to
assoeiate with the work of
the master, but which is
the work of time alone.
Whether the picture is
better or worse for its
toning is not within the
scope of my inquiry.
There is no doubt a
certain fascination always
attending the unseen and
unknown ; but that which
obscures a painting, ob-
scures the intention of the
painter; and due con-
sideration will show that
if the effect produced is
not the effect originally
intended by the painter,
the more we respect the
painter, the more we shall
regret the change.
There are two methods
by which we may approach
the subject experimen-
tally. One is by analysis
—that is, by actually
taking an old picture,
encrusted by many coals
SATAN BY MARC ANTOCOLSKY
ot varnish, and discoloured
by the dust of ages, and
twelve years of my association with the late Signor subjecting it to the process of cleaning as practised
Pinti as his assistant in the work of restoring old by an expert restorer. The other method is by
paintings, generally of the Italian schools. • attempting to imitate or manufacture an " old
Very close observation and actual analysis of the Venetian master."
materials used led me, under the careful guidance Let us first examine the work of the restorer,
of my experienced master, to the conviction, always For it is possible to restore a picture in the sense
ardently maintained by him, that the methods of relieving it of the accretions of ages. The old
employed by the Venetians were extremely simple. varnish is removable either by gentle friction, or by
The very simplicity, indeed, of the means, appears the careful use of solvents. Of course incalculable
to have led some inquirers astray. injury may be inflicted by the rash use of solvents
It must be remembered, of course, that a paint- —as an ignorant or unskilled hand may inflict meal-
ing fresh from the easel of Bellini or Titian had a callable injury by the use of the surgeon's knife—■
very different appearance from that which it presents but applied with discrimination they are effective
to-day, with its three centuries' yellowing of oil, old and safe. The dirty substance of varnish which
varnish, and accumulated dust. It is just possible, they attack differs chemically from the liner sub-
if not probable, that if such a picture were seen stance of paint with which the picture was executed;
to-day exactly as it did leave the easel of the and under the treatment of an accomplished expert
painter, it would not be appreciated by everybody. the one is removed, leaving the other untouched.
There is a mysterious glamour that comes by the The picture thus cleaned will appear in all its
"toning of ages," a pleasing glow or warmth, a original beauty of colour, excepting a slight tone
223
unity of tone throughout
the picture which the
modern spectator has
learned to love and to
assoeiate with the work of
the master, but which is
the work of time alone.
Whether the picture is
better or worse for its
toning is not within the
scope of my inquiry.
There is no doubt a
certain fascination always
attending the unseen and
unknown ; but that which
obscures a painting, ob-
scures the intention of the
painter; and due con-
sideration will show that
if the effect produced is
not the effect originally
intended by the painter,
the more we respect the
painter, the more we shall
regret the change.
There are two methods
by which we may approach
the subject experimen-
tally. One is by analysis
—that is, by actually
taking an old picture,
encrusted by many coals
SATAN BY MARC ANTOCOLSKY
ot varnish, and discoloured
by the dust of ages, and
twelve years of my association with the late Signor subjecting it to the process of cleaning as practised
Pinti as his assistant in the work of restoring old by an expert restorer. The other method is by
paintings, generally of the Italian schools. • attempting to imitate or manufacture an " old
Very close observation and actual analysis of the Venetian master."
materials used led me, under the careful guidance Let us first examine the work of the restorer,
of my experienced master, to the conviction, always For it is possible to restore a picture in the sense
ardently maintained by him, that the methods of relieving it of the accretions of ages. The old
employed by the Venetians were extremely simple. varnish is removable either by gentle friction, or by
The very simplicity, indeed, of the means, appears the careful use of solvents. Of course incalculable
to have led some inquirers astray. injury may be inflicted by the rash use of solvents
It must be remembered, of course, that a paint- —as an ignorant or unskilled hand may inflict meal-
ing fresh from the easel of Bellini or Titian had a callable injury by the use of the surgeon's knife—■
very different appearance from that which it presents but applied with discrimination they are effective
to-day, with its three centuries' yellowing of oil, old and safe. The dirty substance of varnish which
varnish, and accumulated dust. It is just possible, they attack differs chemically from the liner sub-
if not probable, that if such a picture were seen stance of paint with which the picture was executed;
to-day exactly as it did leave the easel of the and under the treatment of an accomplished expert
painter, it would not be appreciated by everybody. the one is removed, leaving the other untouched.
There is a mysterious glamour that comes by the The picture thus cleaned will appear in all its
"toning of ages," a pleasing glow or warmth, a original beauty of colour, excepting a slight tone
223