CHAPTER III.

FINE COLOURING 69

_Section 1._--PRINCIPLES OF COLOURING OBJECTS 71

_Section 2._--COLOURS OF LIGHTS AND SHADOWS 99

_Section 3._--SUNSHINE 101

_Section 4._--SUNSET 103

_Section 5._--MOONLIGHT 105

_Section 6._--GREY DAYLIGHT 107

LIST OF PLATES.

FRONTISPIECE. SUNSET. (to face Title page.)

PAGE

1. CUYP'S PRINCIPLE 39

2. BOTH'S PRINCIPLE 41

3. RUYSDAEL AND HOBBIMA'S PRINCIPLE 43

4. TENIER'S AND OSTADE'S PRINCIPLE 45

5. TITIAN AND THE VENETIAN SCHOOL 47

6. LUDOVICO CARACCI'S PRINCIPLE 49

7. ANOTHER PRINCIPLE OF TITIAN 51

8. RUBEN'S PRINCIPLE 53

9. TURNER'S PRINCIPLE 55

10. ANOTHER PRINCIPLE OF TURNER 57

11. MODERN MANNER 59

12. THE NERI 88

13. THE BIANCHI 93

14. THE DUTCH SCHOOL 94

15. SUNSHINE 101

16. MOONLIGHT 105

17. GREY DAYLIGHT 107

PREFACE.

In the Sketcher's Manual, the general principles of making pictures in

black and white, or, as it is technically termed, in Chiaroscuro, have

been briefly, but it is hoped distinctly, explained. The following

work on Colouring proceeds upon the same method. It treats first of

the arrangements of masses of colours which have been established

by various masters or schools, and which have been recognized as

satisfactory or agreeable by the public voice; it then points out

the abstract principles to which these several arrangements may be

referred; and finally directs attention to the qualities of Colouring

in Art which are requisite as regards the imitation of Nature. It does

not profess to descend to details, for these require a considerable

advance in the Art, and consequently could not possibly be rendered

intelligible in any publication, because they would require the

exercise of first-rate powers, to colour every individual impression

of the plates. For examples of the details of colouring, the Amateur

and the Student must be referred to the best pictures of the several

masters whose general principles are herein exhibited. But it should

be observed, that although the several masters, whose names have been

brought forward in the present work, and in the Sketcher's Manual, as

the originators of the several principles of Chiaroscuro and Colour,

are generally distinguished by some exercise of the principles to

which their names are attached, they have produced many and valuable

works in other and very different styles. It is not intended to imply

that all the works of these masters are constructed upon the same

principles; still less is it intended to imply that the principal

merit of these masters resides in the particular principle of

picture-making, which they have mainly, if not entirely, contributed

to develope; for this would reduce the art of painting to a

"mechanical trade," or mere means of gratifying the eye. Least of all

has it been intended to afford to critics a means of attack upon the

modern masters, whose names have been introduced into these little

works, as "painters of pictures on receipt, or on a principle of

manufacture." The development of a new principle of Art, whether

relating to Composition, Chiaroscuro, or Colour, is as meritorious

and worthy of distinction as, if not more so than, the production

of an able work upon the principles of Art previously established

by others.

The author is fully sensible that _he_ must submit to criticism with

respect to whatever he may place before the public; nor is he in the

least disposed to complain of any censure of the _matter contained_ in

the works, or of the _manner_ in which that matter is placed before

the public. He can even afford to smile at the criticism that a work

addressed to the AMATEUR and the STUDENT on Picture-making in

Chiaroscuro, "will not make a Raffaelle or a Titian," particularly as

the great merit of the latter was colouring; and he may observe that

he does not expect that even the present work, which is solely devoted

to colouring, "will make a Titian." It will be sufficient if he shall

have placed in a tangible shape before the reader _some_ of the

principles by which the effects of Colouring, and light and shade have

been made, by certain masters, subservient to higher purposes;--the

Art is but the means to an end. But the author feels that he has a

right to complain of a criticism of his work, in which the _censures_

of the _critic_ upon _third_ parties are made to appear to have

proceeded from the author; and he now begs to disclaim having said

anything disrespectful either of Mr. Stanfield or Mr. Roberts, either

directly or indirectly, as will be evident upon the inspection of the

Sketcher's Manual.

And the author feels it necessary to remove an erroneous impression

with respect to the nature and intention of these works, by stating,

that they are expressly intended for the Amateur or the Beginner in

Art; that they are not intended to be argumentative or controversial;

nor are any matters introduced that require the support of argument,

evidence, or authority, although these could easily be adduced, if

requisite; but the desire of the author has been to lay before the

Amateur such principles of Art as have received the sanction of years,

and are universally appreciated by the public in their effects: and

the only merit claimed is that of having brought them together in such

a form as to distinguish them clearly; and to render the principles as

evident as possible. But there is no pretension of limiting the whole

Art of Colouring to the principles of Colouring contained herein.

For the method in which the plates of the present work have been

executed, I am indebted to a recent improvement in Lithography, made

by Mr. Hullmandell. It is capable of producing more nearly the effects

of painting than any other style of engraving; but from these plates

professing only to represent masses of Colour and general tone, and

being the first that have been attempted in this particular

application, they are not calculated to display Mr. Hullmandell's

improvement to advantage.

INTRODUCTION.

Sir Joshua Reynolds in one of his Discourses has stated, that the

Edifice of Art has been gradually raised by the contributions of the

great men of past ages, and that although every addition to knowledge

required the exertion of a mind far in advance of its contemporaries

to effect it, the results have now become the common property of all

artists, and may easily be appropriated by every Student--"that much

may now be taught, which it required vast genius to discover."

It will not be necessary to adduce any argument in support of this

proposition. The difference of opinion will principally refer to "what

part can be taught?" And hereon there have been as great divisions and

disputes as have arisen with regard to the part of the pig that was

forbidden to be eaten by the followers of Mahomet; only it should be

observed that the discussions have terminated in an almost opposite

result; for whereas the whole pig was eaten, scarcely any of the Art

has been taught.

Numerous works have been published and numerous methods of instruction

adopted; but they are almost all directed to points of mechanical

execution, or the representation of individual objects, which mainly

depend upon skill.

Skill is the natural result of practice or fortunate organization, and

will, of course, differ with the perseverance or capacity of the

student, which has led to the persuasion that the productions of Art

are dependent upon what is called natural genius.

But what is _known_ of Art may be as easily communicated as any other

fact, and as easily acquired as a knowledge of history, or any other

appeal to the memory, and is indispensable equally to the critic and

to the amateur. On this subject there are few if any works; and it is

rarely touched by professed teachers of the Art.

The method of private tuition at present in favour is, to make a

drawing before the pupil, who is expected to appreciate the course of

proceeding, and to imitate the effect.

Watching a drawing thus in progress, it will be observed that the

greater part is done apparently without a thought; it appears to be

literally at the "fingers' ends" of the artist: and this will be found

to comprehend much, it not all that confers the effect of a picture.

But in what does this consist? Repeated practice, and continued study

of works of art, will undoubtedly, _in time_, bring it to the

"fingers' ends" of the student also, and it will insensibly become an

inexplicable habit, manner or style. But this is, in fact, what may be

taught or communicated in a short time; it is the knowledge resulting

from the experience of ages,--the edifice built up of discoveries from

time to time contributed to the fund of Art by the success and

failures of our predecessors. This is the _knowledge_ or science of

painting, which should precede all practice or attainment of skill,

and such portion as relates to colouring, it is the intention of the

present work to supply. Skill will follow as a result of the endeavour

to make use of the means to produce the end--Pictures.

There has been, unfortunately, so great confusion in the use of the

terms applicable to Colours, that it becomes difficult to convey any

distinct information respecting them, without hazarding the charge of

pedantry by limiting the signification of certain words. Tints, Tones,

and Shades of Colour have been, and still are, too commonly used so

indiscriminately to mean the same and different things, that no

definite impression can be given, unless there exist a previous

knowledge of the mode in which each word is applied. It will,

therefore, be necessary to explain the meanings with which each word

will be used in the present work.

TINTS are those specific and definite qualities of colours, by which

the individuals of a class are distinguished from each other: as of

Reds; Scarlet, Crimson, Pink, Rose-colour, &c.: of Greens;

Apple-green, Olive-green, Pea-green, &c.: of Yellows; Straw-colour,

Amber, &c.: of Blues; Sky-blue, Garter-blue, Indigo, &c.

SHADES OF COLOUR imply the degree of brilliancy or depth, as bright or

deep Crimson; light or dark Blue.

TONES OF COLOUR are of more general application, as indicating the

general aspect of classes of Tints or Shades; and especially

designating the degree of warmth or coldness: as cool greens, warm

greys. There may be lighter and darker _Shades_ of the same TONE, but

not of the same TINT. Rose-colour and Crimson may be said to be

lighter and darker shades of the same _Tone_.

The word Tone is also used by itself in opposition to crudity or

rawness of colour; and hence is technically descriptive of the ternary

compounds, of whatever tint or shade; while the primary colours and

the binary compounds, Blue, Red and Yellow, and Purple, Orange and

Green, are technically distinguished as Colour. The lighter shades of

Tone in this sense are technically included under the term _Greys_;

warm, as they contain Orange; cool, as they contain Purple or Green.

Tints and Tones are further classed as _pure_, as they approach

purple, and those tints observed in Mother of Pearl, hence, also

pearly tints; warm or hot as they approach Orange; heavy, and unless

they are exceedingly transparent, muddy, as they approach Green.

HALF-TINTS express those gradations of _colour_, and HALF-LIGHTS

those gradations of _light_, between the greatest brilliancy and the

shadows.

Colours are said to be SUPPORTED by others which present some

resemblance, but are inferior in brilliancy; as blues by purples,

crimsons by reddish-browns, yellows by orange:

--CONTRASTED by those which are the most opposite, as blues by orange

or browns, reds by green, yellows by purples:

--BALANCED when by opposition they are so neutralized that no one

appears principal or predominant.

The author of a recent publication on Colour is quite in error, when,

in describing technical terms, he states "the Balance of Colouring is

the harmony produced by _supporting_ one colour by _another_

introduced in _different parts_ of the picture, either _of the same

colour_, or one approaching to it." This is SPREADING _a colour_

THROUGH the picture, and though it may _contribute_ to the balance of

colouring by _contrasting_ and _neutralizing_ the _other_ colours in

the work, it is in itself the very opposite of the _balance_ of

_colouring_, as it consists entirely in loading one side of the beam.

To this it may be added that colours are said to be SUPPORTED by

similar tints _adjacent_, and ECHOED by them when "in different parts

of the picture."

There are many other errors in the book above-mentioned, but as this

is not intended to be a controversial disquisition, those mistakes

only will be noticed which might otherwise lead to confusion; but to

the correction.

The definition of "MELLOWNESS," as "caused by those warm colours

which, when blended, produce an agreeable _tone_ or _hue_, and would

then be said to _sympathize_ and create _harmony_," is as incorrect

and indefinite, as the remainder of the paragraph is without

foundation:--"On the contrary, if, in mixing two or more colours, a

disagreeable and harsh effect were produced, they would be said to

have an _antipathy_, and create _rawness_--this adulteration of one

colour by another causes what painters term a MUDDY effect." Painters

term an effect _muddy_ when it is dirty in colour and wanting in

transparency. This fancy respecting the sympathy and antipathy of

certain colours, which is more distinctly alluded to in the following

passage:--"when, to produce a particular tint, the mixing of two

colours which do not sympathize is unavoidable; one or more may be

introduced whose sympathy is greater, that a pleasing and harmonious

effect may be produced, &c."--this is wholly groundless. How the

sympathy and antipathy alluded to are supposed to act is not very

evident, but they have no existence whatever.

The definition of a "PEARLY HUE," as "obtained by softening or

blending the _warm_ colours without adulterating one with the other,"

is equally liable to objection as untrue.

The attempt at a philosophical account of the _cause_ of the colours

produced at sunset and sunrise, has been incidentally exposed in the

third chapter of the present work. This error undoubtedly does not

originate with the professed author of the publication alluded to; and

as the greater part of the book is evidently, though without

acknowledgment, compiled from Mr. Burnett and other writers on the

subject, the other errors are probably in a great measure also the

result of compilation.

CHAPTER I.

COLOURING AS A MEANS OF ART.

Colouring is the decorative part of Art. It answers to Rhythm and

Rhyme in poetry, as the means of attracting the senses. As it is a

means of producing, so its indispensable qualification is,--BEAUTY. In

the higher aims of Art it should be made subservient to Character and

Expression, by according with the nature of the subject; but, still

under the limitation and regulation of those principles which govern

Pictorial Effect. Under all circumstances, and to whatsoever purposes

applied, the first qualification of Colouring as a means of Art is,

that it should produce a Picture.

A picture has been elsewhere defined as an arrangement of one or more

objects and accessories so as to afford an agreeable subject of

Contemplation. And the principles which regulate Chiaroscuro and

general arrangement for this purpose, have been pointed out. The same

principles must regulate Colouring as a means of Art.

The mere representation of any object, however accurately detailed and

coloured, does not constitute a picture. It must be represented with

accessories and under Pictorial Effect. This as regards Chiaroscuro

has been shown to depend upon Breadth. As regards Colouring it depends

upon Harmony.

CHAPTER I.

SECTION I.

HARMONY.

Harmony is a term borrowed from the sister Art of Music, to denote a

degree of relation or congruity between two or more colours, so as

mutually to support or develope each other's beauties, as is the case

with a chord or concord of sounds. The degrees of relation, or

qualification for harmony, of sounds, can be ascertained by

mathematical calculation incapable of erroneous results. Not so, those

of Colours; at least in the present state of the science of Optics. If

it should be proved that colours are the effect of vibrations of the

air, or any other fluid, as are sounds, the Harmony of Colours may

equally become the subject of mathematical calculation, with equally

certain results; at present we cannot go beyond rude approximations by

guess or supposition; and are vaguely placed under the regulation of

_Taste_, itself as Protean and undefined.

The theory of the three or seven colours being all equally necessary

to each other, which has been derived from the division of the ray of

light by a prism, has been supposed to afford the relative proportions

of the various tints necessary to Harmony in a picture, _because

existing in light_; and fanciful, but entirely unfounded, analogies

have been drawn by enthusiasts between the seven colours and the seven

notes, and the three colours and the notes of the common chord in

music: but without going into the question of how far this would be

likely to assist in our present inquiry, _if true_, it may be

sufficient to observe that these relative proportions _vary_ with the

substance of the prism by means of which the ray of light is divided;

so that the whole induction falls to the ground.

But were the proportions always the same, the induction would be

equally untenable. For, though light may be very beautiful; and the

Rainbow may be very beautiful; a totally different kind of beauty is

required for a picture. The colours of the Rainbow may perfectly

harmonize; but it is more than doubtful whether the person whose whole

picture was a representation of a Rainbow, would be considered to have

produced a finely coloured work of Art.

Harmony, in Pictorial Colour, does not depend upon any particular

proportionate quantities of the different tints; nor in any particular

disposition or arrangement of them; but upon the qualities and the

treatment of the individual colours. A picture may be painted with

every variety of the most brilliant colours; or, on the other hand, as

Rembrandt treated light, the work may contain only one small spark of

colour, the remainder being made up of neutral tints; and even the

small spark of colour may be dispensed with, and the whole picture be

made up of a variety of tones.

Having dwelt so much in the Sketcher's Manual, upon the principle of

Breadth being indispensable for the production of Pictorial Effect, it

will scarcely be requisite to point out that it is equally necessary

that Colours should be so treated as to produce _Unity_; and that, as

with lights and shadows, so whatever variety of tints may be

introduced into a picture, they must be so blended and incorporated

with each other, that they still form parts of a whole;--that whether

the lights be white, and the shadows black, or differently coloured,

the same necessity for graduation remains; so that Colours must not be

in flat patches. And in the treatment of Colours, besides the

graduation requisite for Breadth of Chiaroscuro, it is necessary to

pay attention to the peculiar quality termed TONE, which is

indispensable in a coloured Work of Art.

As well as Breadth of Chiaroscuro, there must be BREADTH OF TONE, the

fundamental quality of Harmony.

CHAPTER I.

SECTION II.

TONE.

This is a term also borrowed from the vocabulary of Music, to denote a

property or quality of Colour, the opposite of gaudiness or harshness;

and implies a richness or sobriety, inviting quiet contemplation. It

confers what is technically termed _repose_. It bears that relation to

colours in general, that the quality of a musical note does to that of

an unmusical sound or mere noise. In Music, this is known to depend

upon the vibrations of the air being _isochronous_, or at regular

intervals. Should it be discovered that Colours are also produced by

vibrations, Tone in its present application may prove to arise from a

similar regularity.

Tone implies a degree of transparency, which in Oil colours is

attainable with great facility, by a process termed _glazing_; viz.

passing a transparent colour over a previously prepared tint. There

are also some other practical methods of producing it, which are more

advisable in certain cases, but which need not be further noticed

here. In Water colours, the greater number of pigments used are

transparent, and the legitimate method of using them proceeds upon the

principle of working entirely in transparent media; which has, at all

times, excited great hopes with regard to that branch of Art, as

affording a better means than Oil colours (in which the light tints

are all composed with opaque white) of producing the brilliancy and

truth of Nature, in combination with the transparency (tone) which is

required in a work of Art. And it is to be regretted, that in some

few, and those popular instances, this advantage arising out of the

legitimate use of Water colours, should have been thrown away, without

obtaining any equivalent, other than that of hiding or correcting

blunders; and that attempts should have been made, by the use of

opaque body colours, and a similar method of working, to imitate the

effect of Oil painting. The progress of the true art of Water-colour

drawing, must necessarily receive a check from the adoption of such a

practice, which will doubtless be sanctioned by the idle or the

hurried; and attempts to carry out the original prospects and genuine

advantages of the transparent medium, will probably become rare, if

they should not cease entirely.

It is true that opaque Water-colours are supposed to have an advantage

over Oil-colours, in light and brilliant parts, in consequence of the

tendency of the Oil (the _vehicle_, as it is technically termed) to

come to the surface, and thus to give a tinge to, or obscure, the

purer tints of skies and distant brilliant objects. On this account,

they are said to be used by Turner in these parts, when he desires to

attain great clearness and purity of colour. But, however, the _union_

of Water-colours with Oil may be advantageous for these purposes, and

thus _Opaque_ Water-colours may receive a partial sanction; it cannot

be denied that, in the instances previously alluded to, in which the

Opaque Water-colours are used for no other purpose than the facility

of recovering half-tints that had been too much obscured, the only

advantage of Water-colours is abandoned, without obtaining the

equivalent of _richness_, arising from texture in Oil; and the purity

of the one art is lost, without attaining the force of the other. A

crumbly, bungling appearance is produced, and for no reason, as the

practice can never be successfully employed in the parts or objects,

in which the use of semi-transparent colours is so invaluable in Oil.

And in fact, Opacity, the reverse of what is desired, Tone, is

produced by the very same means in Water-colours, by which

transparency is attained in Oil.

Breadth of Tone is obtained by a process termed _breaking the

colours_, which is the same with the method of incorporating lights

with each other, described in the Sketcher's Manual; viz. graduating

each tint into those adjacent, by which means a certain degree of

affinity is diffused throughout the whole picture, and Harmony, or

Breadth of Tone, is produced. The same results are effected, by a

process perhaps abused in the present day, termed Glazing, which

consists in passing some transparent pigment of the tone desired, over

the whole picture, and thus breaking all the tints in the work with

the same colour which produces the affinity required.

CHAPTER II.

RULES FOR PRODUCING PICTURES IN COLOUR.

Although Harmony or Pictorial Colouring does not _depend_ upon any

_particular_ quantities or arrangement of _particular_ tints, as the

slightest consideration of the infinite variety of Pictures that have

been produced will prove; certain quantities and arrangements of

certain colours, have been found to effect it.

These discoveries have been made from time to time, and have each been

adopted as principles by different artists; and though admitting of

considerable variation in details, their effects have been so

evidently distinguished by the public as uniform in general aspect,

that they have been ranged in classes or schools, to one of which any

individual work is instantly referred, by those who have even a slight

acquaintance with the Art.

By _writers_ upon Art it has been very generally contended, that there

_must_ be a balance of warm and cold colours. A little consideration

will show, that this, as well as _all_ restrictive regulations, such

as that blue must not come in the front of the picture, &c. are

unfounded, or nearly the whole of the Dutch school of landscape and

interiors must be condemned as wanting in Harmony, or bad colourists;

for Ruysdael and Hobbima, Teniers and Ostade, seem to have had a

horror of warm colours, while, on the other hand, Cuyp and Both seem

to have had an equal dread of cool tints. That a balance of warm and

cold colour is _one_ principle by which Pictorial Harmony may be

obtained, is perfectly true; and that there are various means of

balancing them is also true; which affords numerous varieties of style

or character of pictures. And that the principle deduced by Sir Joshua

Reynolds from the Venetian school, that one-third of the picture

should (may) be cool, and the remaining two-thirds warm, is also just;

and will be productive of beautiful results. The error consists in

making these relative proportions _indispensable_ to Harmony.

This chapter will contain such principles as have been found to ensure

Harmony. There may, perhaps, be many others in store for future

discovery.

These principles are of universal application, whatever objects may be

the subject of the drawing or picture, whether landscape, figures,

animals, flowers, or altogether; and they are wholly independent of

Poetical or Dramatic colouring,--the application of colour to

Expression and Character,--and of the colouring of individual objects.

The art of composition, in regard to colour, consists in arranging

objects in such a manner, that their true colouring will produce the

combination required by the principle adopted. The art of too many of

the artists of the present day, consists in introducing the colours

required, without any reference to their being found in nature or not.

[Illustration: CUYP'S PRINCIPLE]

CHAPTER II.

SECTION I.

CUYP'S PRINCIPLE.

The simplest arrangement and treatment of Colours will be found in the

style of Cuyp and Both; objects in shadow are relieved against a warm

sunny sky. For the reasons given in the Sketcher's Manual, with regard

to Progressive Execution, these are the best adapted to beginners;

objects in shadow do not present much variety of tint.

The whole aspect or general tone of the picture is warm. The shadows

are cooler than the lights, but very far from cold; being of a Sepia

brown, and sometimes warmer, with some cool reflections from the air.

The sky is gently graduated from a rich yellow to the most delicate

warm grey. The middle ground affords some blackish-green half-tints or

shadows; and some golden lights are introduced in front.

Cuyp treated figures, animals, and boats in this way. The points

requiring attention and care are, first, the tone of the sky and

yellow lights, which must be obtained from yellow and Roman ochres;

the sky should have a creamy quality of colour; and what little grey

is introduced, must be Cobalt Blue, or Ultramarine with Carmine, or

Lake, so as to prevent the slightest appearance of green; secondly,

the masses of shadow must be of agreeable shape and must not be too

dark. Plate.

[Illustration: BOTH'S PRINCIPLE]

CHAPTER II.

SECTION II.

BOTH'S PRINCIPLE.

The style of Both is only a slight variation from that of Cuyp. He

adopted a different character of subject, usually contriving to

relieve a mass of rock or bank, and a tree with delicate foliage

against the sky; and he increased the warmth of the general aspect of

the picture, by making the tree and part of another _light_ bank, of

the rich brown afforded by burnt Terra de Sienna, and by introducing

some red clouds in the sky. In some instances Both has not escaped the

dangers that present the difficulty to his followers; the tone of

these pictures appears hot, and thereby a vulgarity is occasioned, and

that refinement which is required by Taste in the Fine Arts, is

destroyed. Plate.

[Illustration: RUYSDAEL'S AND HOBBIMA'S PRINCIPLE]

CHAPTER II.

SECTION III.

HOBBIMA AND RUYSDAEL'S PRINCIPLES.

These masters have adopted a style which, though apparently as

opposite to that of Cuyp and Both as cold is to warm, resembles it in

this respect--they rarely, if ever, admit positive colours in force,

and thus offer another simple principle for the treatment and

arrangement of tints.

In Hobbima and Ruysdael, who painted landscapes, dark brownish masses

are relieved against a cloudy grey sky, and some white or grey light

is introduced in front to carry the colour of the sky through the

work. The general aspect of the picture is cold. What little warmth of

tone may be admitted, is to be found in the centre of the shadows; and

the only approximation to positive colour, is in the sky, a little

cold feeble blue, obtained in water-colours from Indigo; and a small

portion of a deeper shade of the same tone of blue on mountains or

trees in shadow in the distance; or a little cold green in the middle

ground. If ever any red be introduced, it must be a mere speck of

vermilion shaded with grey, to give value by contrast to the neutral

tones, which make up the principle part of the picture. Plate.

[Illustration: OSTADE'S PRINCIPLE]

CHAPTER II.

SECTION IV.

TENIERS AND OSTADE'S PRINCIPLES.

Teniers and Ostade have treated homely interiors upon the same

principle, making up the greater part of the picture with brownish

grey tones, and introducing in the light, some very feeble spots of

the primary colours, carefully shaded with grey, to assimilate them

with the general aspect of the work. What little warmth is admitted,

is found in the shadows and reflections, as in the productions of

Ruysdael and Hobbima. But the lights afford a greater purity of tone;

so that while the works of Ruysdael and Hobbima would be said to have

a grey tone, Teniers, and particularly Ostade, are said to have a

silvery tone. Plate.

[Illustration: PRINCIPLE OF TITIAN AND THE VENETIAN SCHOOL]

CHAPTER II.

SECTION V.

THE PRINCIPLES OF TITIAN AND THE VENETIAN SCHOOL.

The Venetian School, founded by Titian, adopted a combination of rich

warm browns, yellows, and greens, supported by crimsons, all deep in

tone, overspreading two-thirds of the picture, opposed by very rich,

almost warm, blues, and animated by a point of white, sometimes

accompanied by black in the front of the subject. No violent contrasts

are admitted, no crude colours. The white is toned down to assimilate

with flesh tints, which are again toned to accord with golden lights,

gradually deepening into yellowish browns, and emerging through warm

greens to join the blues, which are kept in check by the opposition in

some places to rich reddish browns of the same relative shade, so that

one shall not be darker than the other; the blue is graduated as it

approaches the white, into which it is blended by the interposition of

fleshy-coloured tints. The whole aspect of the picture is rich and

warm, but subdued. The lights are golden and the shadows brown, with

just so much cool green, white, and blue, as shall prevent the picture

appearing rusty. But though these tints are called cool, because they

are cooler than the rest of the work, as in the style of Cuyp and

Both, they must not be cold; but above all it is requisite to take

care that they are not crude. White must be toned with yellow or red;

blue must incline to purple; and if black be introduced, it must not

be _blue_ black. Plate.

[Illustration: LUDOVICO CARACCI'S PRINCIPLE]

CHAPTER II.

SECTION VI.

LUDOVICO CARACCI'S PRINCIPLE.

Ludovico Caracci followed the Venetian school, but subdued the colours

of the whole picture, to what Sir Joshua Reynolds calls a "cloistered

tone," the effect of a "dim religious light, through storied pane."

Neither white nor black are admitted: the deepest shadows do not

descend below a rich brown; the brightest lights do not rise above a

creamy yellow. The blue is no longer opposed to a brown of the same

relative shade, but is introduced in the half-lights, and carefully

blended into the shadows, by means of warm reflections, and the

interposition of reddish purple shadows. The Chiaroscuro is broader

and more tranquil than in the works of the Venetian school. Plate.

[Illustration: ANOTHER PRINCIPLE OF TITIAN]

CHAPTER II.

SECTION VII.

ANOTHER PRINCIPLE OF TITIAN.

Titian has adopted another principle in the painted ceiling of the

Hall of Judgment, in the Ducal palace at Venice. Pure greys are

interspersed amongst masses of bright crimson, which are opposed to

some pure white and blue, broken by flesh tints. The reds and greys

are supported by some warm yellows, and the whole assimilated by rich

brown shadows. The contrasts of colour and Chiaroscuro are vivid, and

require care in the shapes, as well as the situations of the masses

and points of relief. Plate.

This principle of colouring is applicable to gorgeous historical

subjects, portraits, and flowers. Sir Thomas Lawrence frequently

adopted it with a slight variation, resulting from the combination of

some portion of the following principle which was developed by Rubens.

[Illustration: RUBEN'S PRINCIPLE]

CHAPTER II.

SECTION VIII.

RUBENS' PRINCIPLE.

Rubens is the founder of another school in which the most violent

contrasts of colour and Chiaroscuro are admitted in the focus of the

picture. The deepest black, supported by rich yellows, crimsons, and

blues, is opposed to the brightest vermilion, sometimes heightened

with gold, and the purest white, which is graduated through every

variety of pearly tint into bright blues, interspersed with purply

greys, creamy and fleshy half-tints.

Great simplicity of Chiaroscuro is requisite in this style of

colouring. Both the white and the black must graduate uninterruptedly

into the half-lights, which form the greater part of the picture. The

crimsons, blues, and yellows, that support the black, must all partake

of the same tone. The vermilion must graduate into purply tints, which

will emerge through greys and greens to the bright blue. Plate.

[Illustration: TURNER'S PRINCIPLE]

CHAPTER II.

SECTION IX.

TURNER'S PRINCIPLE.

Turner has controverted the old doctrine of a balance of colours, by

showing that a picture may be made up of delicately graduated blues

and white, supported by pale cool green, and enlivened by a point of

rich brownish crimson. It requires some care in the graduation and

shapes of the masses of blue and white, and in the situation of the

point of colour. Plate.

[Illustration: ANOTHER PRINCIPLE OF TURNER]

CHAPTER II.

SECTION X.

ANOTHER PRINCIPLE OF TURNER.

Another principle adopted by Turner is, to contrast rich autumnal

yellows in the foreground, with a brilliant Italian blue sky,

graduated through a series of exquisitely delicate pearly tints, to

meet the cooler green tints of the middle ground. The warm colours in

the foreground are qualified by purply half-tints, and supported by

warm shadows and some rich crimsons; or sometimes reduced to

comparative sobriety by the opposition of the brightest orange and

white. Plate.

[Illustration: MODERN MANNER]

CHAPTER II.

SECTION XI.

MODERN MANNER.

A very favourite manner of the present day is partially to relieve a

tower, steeple, spire, or some upright object, rendered of a purple

colour, against a white cloud which is graduated with purply greys,

creamy and fleshy tints, and opposed to some bright patches of blue;

the lower part of the building or object is graduated through cool

greens or greys, into some warmer yellows or browns in the foreground,

which are interspersed with points of bright colours, such as Cobalt

blue, Vermilion, Lake, and sometimes white and black, but always

introducing in front some dull red, as of bricks or tiles, contrasted

with fresh greys. Plate.

CHAPTER II.

SECTION XII.

ABSTRACT PRINCIPLES TO WHICH THESE ARRANGEMENTS MAY BE REFERRED.

These several styles of colouring may be reduced to certain abstract

principles, which may be made the foundation for other and different

arrangements, as the taste and talent of the artist or amateur may

dictate.

Pictures may be made up of a balance, or harmonic arrangement of

TONES.

Or, of a balance, or harmonic arrangement of COLOURS.

Or, of a balance, or harmonic arrangement of TONES and COLOURS.

Or, by relieving a SPARK of COLOUR against a mass of TONES.

Or, by relieving a spot of black or white, _the concentration of_

TONES, against a general aspect of COLOURS.

Pictures may be warm in tone, qualified by so much cool tint as will

prevent their appearing hot.

Or cool, with so much warm tint as will prevent their appearing cold.

A small spark of bright colour will balance a large mass of subdued

tint. Equal brightness will require equal masses.

For the principles by which the shapes and situations of masses and

points must be governed, the reader is referred to the Sketcher's

Manual, where they will be found at length, and carefully illustrated.

The same regulations that govern the distribution of several lights or

shadows, must guide the positions of several masses of the same

colour. If two or more are introduced, they must not be equal in size,

nor similar in shape, nor must they be so placed, that a line drawn

through them, would be either horizontal or vertical--parallel with

either base or side. The great principle of colouring being Variety

within the limits of Harmony, such masses of similar tints should be

of different sizes and shapes, and should be interspersed at different

distances through the picture, so as to suggest an undulating line,

traversing all, or at least three, of the four quarters of the

picture, that all the particular colour shall not be on one side, and

none on the other, nor all at the lower, and none in the upper half of

the picture. But if the arrangement of relieving a spark of colour

against a mass of tones, or the reverse be adopted, it must not be

placed in the centre of the picture, nor equidistant from either top

and base, or the two sides.

With regard to the beauty of individual tints, it would be difficult

to come to any very strict definition, as what is pleasing to one

person, is not so to another; and particularly in reference to the use

of colours in Art, for they then become so dependent upon the other

tints by which they are surrounded, that they may be said to cease to

have positive designations, and to become only comparative; and there

is scarcely any tint, however disagreeable in itself, but may be made

by Art to appear agreeable, if not beautiful. But the object of the

present work being to collect the certain or decided principles of

Art, for the benefit of those who desire to derive pleasure or

amusement from it, the doubtful or questionable hypotheses will be

left untouched, and those points only brought forward which are

calculated to ensure success.

For this purpose, the amateur should avoid greenish blues and greenish

yellows; they both appear sickly: and never place such a green between

blue and yellow as would result from the mixture of the particular

tints of those two colours which are made use of.

Both blue and yellow become agreeable as they incline to red. Red

becomes rich as it inclines to blue, brilliant as it inclines to

yellow. All shades and tones of purple or orange are agreeable; but of

greens, those only which incline to yellow. Blueish greens require

either to be very pale, as shown in Turner's first principle (_See

Plate_), or moderated with black, so as almost to cease to be colours,

and become tones. All shades and tints of the tertiary compounds are

agreeable in their places; they receive value by the opposition of the

colour which enters least into their composition, and become difficult

to manage only when they approach full blueish green.

White and black give value to all colours and tones.

It may be necessary to make an observation upon the foregoing warning,

and almost proscription, of the use of green in Art, as that colour is

found to be exceedingly agreeable in Nature, and is used with success

in manufactures, and for other general purposes. It is found to afford

great relief to weak sight, and is abstractedly so much admired, that

it appears singular and paradoxical to say, that green must be

sparingly used in pictures, even in landscapes, whose greatest charm

in nature consist of luxuriance of vegetation: but such is the case.

The general tone of a picture may be yellow, as in the works of Cuyp,

Both, Ludovico Caracci (_see Plates_); red, as in the second principle

of Titian (_see Plate_); blue, as in the first principle of Turner

(_see Plates_); grey or brown, as in the works of Ruysdael and the

Dutch School (_see Plates_); but a green picture, however true to

nature, instantly excites an universal outcry as being disagreeable;

and if any of the modern school, to which we shall presently advert,

have been for a moment tolerated, it has arisen from the previous

great reputation of the artist, or for other merits in the work, and

in _spite_ of its being a green picture.

The following hypothesis _may_ be the mode of accounting for this

paradox, and, at the same time, _may_ throw some light upon another,

which will be noticed; that although painting is an imitative art,

imitation, to the extent of deception, does not constitute its highest

excellence.

The eye is excited by Colour, and the object of painting, independent

of poetical expression or character, is to excite the eye agreeably.

But green is found to excite the eye _less_ than any other tint,

(thereby affording some corroboration to the idea that, strictly

speaking, its opposite red, is the only true _colour_,) not even

excepting black; so that it acts as an opiate, and is used for

counteracting the brightness of the sun, by means of parasols or

glasses, and to guard weak eyes from the effects of light by means of

silk shades.

It is thrown out as a suggestion that, in looking at a picture in

which excitement to the degree of pleasure is _expected_, a

disappointment _may_ arise from finding a prevalence of those tints

which do not excite, except to a very slight extent, and that _thus_ a

green picture _may_ occasion dissatisfaction. In looking at Nature we

do not wish to be always excited, and green is admired or valued as

affording repose; but in looking at a picture, the very object is

excitement, within certain limits, which green has a tendency to

destroy.

Certain tints of green become disagreeable in certain parts of

pictures, from association of ideas. Green in flesh, excites the idea

of corruption and decay. Green in skies, occasioned by blending the

warm yellows of sunset with the blue, excite the impression of want of

skill to prevent the one tint running into the other.

But in reservation it must be repeated, that there is no tint that

cannot be controlled and made available, by great skill and

management, to the purposes of Art. These warnings are for beginners

and amateurs; and the work is intended to show them what they may do

with safety; as they attain proficiency, they may attempt

difficulties, which principally reside in _truth_ of detail _in

combination_ with agreeable general effect. When to this is added a

just subservience to Poetical Character, the greatest requisitions of

the Art have been complied with; all other difficulties, of whatever

nature, being merely a species of mountebank trickery, beneath the aim

of high Art, and deserving of the well-known sarcasm of Dr. Johnson

upon some difficult music, that "he wished it were impossible."

CHAPTER III.

FINE COLOURING.

Having shown in the preceding chapters certain principles upon which

Pictorial arrangements of Colours may be ensured, the attention of the

reader must be directed to what other qualities are requisite to

constitute Fine Colouring.

Fine Colouring must not be confounded with Fine Colours. Some of the

Finest Colourists have avoided Fine Colours, and Sir Joshua Reynolds

adduces as a _proof_ that Apelles was a Fine Colourist, the statement

by Pliny, that, "after he had finished his pictures, he passed an

_atramentum_, or blackness, over the whole of them."

Nor is truth of imitation sufficient of itself to constitute Fine

Colouring, though it always confers a value on a work of Art.

Fine Colouring, in the higher walks of Art, implies an adaptation of

the general aspect or style of colouring to the expression and

character of the subject; it then acquires the title of Poetical

Colouring, which is its highest commendation as a means of Art.

But, independent of subject, there are other abstract qualifications

of Fine Colouring to be sought for, in the representation of objects.

It not only requires such an arrangement of tints and tones as shall

produce an agreeable whole, but descends to minutiae, and demands that

such tints and tones, shall be obtained by a degree of refinement or

idealization, within probability, of the ordinary appearances of

Nature, or by a selection of the greatest beauties she displays, and

such a combination of them as shall contribute to convey the most

pleasing impressions, and present _her_ under the most attractive

aspect.

CHAPTER III.

SECTION I.

PRINCIPLES OF COLOURING OBJECTS.

Proceeding to consider Colouring independently of Character or

Expression, to which it should be subservient in the higher walks of

Art, the attention of the reader must be directed to a circumstance

connected with truth of representation.

It has commonly been the practice, under the almost universal sanction

of great authorities, to place the student who may be desirous of

acquiring the Art of Painting, before some object, and to direct him

to copy _what he sees_. But what does he see?

We need not go into the question of _how_ impressions are produced

upon the mind, through the medium of the eye; whether a species of

picture of the object be, during the inspection, as it were painted

upon the retina; and whether that be inverted or anywise different

from the real object; or whether, and to what extent, association

rectifies the imperfections of our sight. These, and other

investigations into the philosophical and physical nature of vision,

may be left to the consideration of those who desire to account for

particular facts; we have to do with the facts themselves.

In whatever manner the effect may be produced, it is indisputable,

that a certain and distinct impression is produced upon the mind,

through the medium of the eye, by every object which may be before it,

and that impression has a strict relation to the real character of the

object; for instance, a marble statue, it appears, or an impression is

conveyed of, an object of one unvaried tint. How this impression is

conveyed, is of no consequence; it is conveyed; and a series of tints

may be artificially arranged upon paper (or any other convenient

material), so as also, if not equally, to convey to the mind the

impression of a marble statue of uniform whiteness. But upon

examination of the drawing or painting, it would be seen, that

scarcely any two parts of the _representation_ of the statue were of

exactly the same tint. Some parts would be delicately graduated from a

point of light, through a series of darker tints, to give the

appearance of roundness; while others would be made nearly black by

shadow, to give the appearance of projection. The present enquiry has

reference solely to Colours, but the same difficulties occur with

regard to forms.

Here there is a discrepancy, occasioned by Association, which we shall

scarcely find language to explain, but which will in most cases prove

of serious perplexity to the student; for there are some other persons

like Queen Elizabeth, who have no idea of shadow, unless it be the

shadow of a parasol or tree, under which they may escape the intensity

of a noon-day sun. The statue will appear, or an impression will be

conveyed to the mind, of uniform whiteness. But pictorially speaking,

one spot only, that which reflects the greatest light, will appear

quite white. All the other parts will _appear_, that is, to convey the

impression, they must be made, of an infinite variety of tints, from

the brightest light to the deepest shadow. The statue _is_ actually

uniformly white, and it appears uniformly white, yet the _appearance_

or representation which must be put upon paper, to convey an

impression of that _appearance_ by drawing or painting, is totally

opposite, being an infinite variety of tints.

But in a statue, by reason of its convexity, the second species of

_appearance_, the Pictorial, is much more readily appreciated, from

the strong opposition of light and shadow, than in a flat surface,--a

ceiling, a pavement, or meadow, in which the perception of the

modifications of colour, arising from what is termed aerial

perspective, is considerably influenced, by the Association above

mentioned, until the eye has become educated to observe these minute

and delicate gradations of tint. Thus, in looking at a meadow, we know

the grass to be generally of the same colour throughout, and to an

uneducated eye it _appears_ equally green from one end to the other:

or the ceiling of a well lighted room, we know it to be of one colour

throughout, and it _appears_ of one even tint from the nearest to the

most distant extremity; yet pictorially speaking, it _appears_ of an

infinite variety of tints, for the effect of the atmosphere is such as

to rob the grass of its colour, and to make the white ceiling grey, as

they recede from the eye.

It will scarcely be necessary to guard against misconception as to the

use of the terms describing the effect of the atmosphere, by

explaining that it is not intended to assert that an _actual change_

takes place, or that there is any _actual_ difference in the colour of

those parts of objects which are at a distance from the eye; or, that

the colour in the distance does not appear to be, as we know it is,

the same with that nearest the eye; but that the effect of distance is

the _pictorial appearance_ of a modification of tint, by the

interposition of the atmosphere, perceptible only to an educated eye.

We know the grass to be equally green throughout, and it appears of

the tints which convey that impression; while Association conceals the

modification occasioned by the interposition of the atmosphere (which

the generality of observers consider as only "air," and of no

consequence), and excites the notion that the meadow appears of one

equal flat tint. But the distant extremity of the meadow is seen

through more or less atmosphere, which is more or less dense; and in

proportion to its density will the colour of the grass be _apparently_

altered or changed thereby; and in some instances, as in case of a

fog, entirely concealed.

In looking at any object through a perfectly transparent medium, such

as plate glass, we do not perceive any alteration in the real colours.

But when the medium is not perfectly transparent, which is the case

with the atmosphere, the colours of all objects seen through it are

modified or tinged in proportion to its density, until they are

sometimes lost or absorbed in the tint of the medium.

The slightest possible colourless opacity gives a medium approaching

to a whitish film, which is very evident when there is light behind

it; as in the case of the beams of the moon. This is the clearest

state of the atmosphere. As it increases in density, it becomes more

and more white, until it becomes a white mist, fog or cloud. The

atmosphere is sometimes coloured, as will hereafter be mentioned; at

present we have to do with its colourless state.

The opacity of the atmosphere, as a white film over the darkness of

space, occasions the blue appearance of the sky; and in proportion to

the rarity or density of the medium, is the intensity of colour, or

rather depth of tone. If the atmosphere be extremely rare, as in the

Polar regions, or at the height of Mont Blanc, the sky appears almost

black. And if the atmosphere be thick with vapour, the sky assumes a

milky colour, and the blue tint is lost in that of the medium. When

the atmosphere is just so rare as to be scarcely perceptible in its

influence upon terrestrial objects,--as in Italy, or the eastern

climes, where the most distant buildings appear diminished in size,

but almost as distinct as those close to the spectator,--yet

sufficiently dense to become a veil to the expanse of space, the

colour of the sky appears the most intense blue. As near as we can

superficially ascertain it,--in the exact medium between such rarity

of atmosphere as would afford blackness, and such opacity as would

afford whiteness,--we may expect to find the most intensely blue

colour in the sky.

As the effect of this colourless opacity of the atmosphere is, to

render the appearance of the _darkness of space_ a blue colour, so all

dark terrestrial objects are similarly affected by the intervening of

this medium, and, in a corresponding degree, become more or less blue.

The dark mountains in Wales and Scotland appear of a deep blue,

sometimes verging upon purple; and a slight comparison between the

colour of the trees close to the spectator and those in the distance,

will show how much more blue the latter become, from the influence of

the medium through which they are viewed.

And as objects, in proportion to their distance, are more or less

affected by the interposition of the atmosphere, so, also, do the

parts of the individual objects themselves, become more or less grey

as they recede. The boundaries of a white object are less white, and

of a black object less black, than the parts nearest the eye. A tree

is most green at the prominent parts, and greyer at the top and sides.

This truth is so decidedly felt by the public in general--though

perhaps insensibly appreciated and but tacitly acknowledged,--that, as

the atmosphere reduces the colours of all objects to a blue tint, so

all blue colours convey an impression of distance, and all tints

approaching to blue are accordingly designated _retiring colours_.

But the atmosphere is not always colourless. The rays of the sun tinge

it with yellow. The rays from a fire or candle tinge it with a colour

approaching to red. The combination of smoke tinges it with black or

brown; and fogs infuse various degrees of dingy yellow. All these

variations affect the colours of the objects seen through the

atmosphere, and modify the degree of blue, or quality of grey, tint

communicated thereby.

When the atmosphere is coloured by the light of the sun, the blue is

modified, more or less, into a warm grey. But owing to the brilliancy

resulting from the blaze of light, the tints remain of the utmost

purity. All tendency to green is kept in subordination by the pearly

tints of those parts which are in shadow. The atmosphere is rendered

more dense at the same time that it is coloured by the light of the

sun; but the light parts of the objects seen through it are rendered,

by the same cause, so much more brilliant, that the density of the

medium is partially compensated; while its full effect is apparent

upon the shadows seen through it, over which a bright haze diffuses a

beautiful blue tint, slightly warmed by the golden colour of the

illuminating power. The contrast of the yellow tinge in the lights

makes these shadows appear to incline to purple; and at sunset and

sunrise, when by the greater quantity of the medium, rendered more

dense by the aqueous vapours close to the earth, the colour of the

sun's light is enriched to a deep golden hue approaching orange and

red, the shadows assume a decidedly purple tint, of which the blue is

supplied by the density, and the red by the colour, of the medium. As

the light of the sun decreases, the colour of the atmosphere is more

evidently tinged with red, until the sun has sunk so far below the

horizon, that the shadows of night incorporating with the colour of

the vapours, render them a dull grey, sometimes approaching a brown.

In proportion as the atmosphere is illumined does it also become

opaque. The sky close to the sun appears much less blue than on the

opposite side of the heavens. The beams of the sun, or moon, or even

the rays of a candle, become so opaque, as absolutely to conceal all

objects behind them.

In a glowing sunshine, the particles of the atmosphere loaded with

light, produce that soft haze or _caligine_, "as the Italian hath it,"

by which the colours of every object seen through it, are assimilated

in one broad, warm, grey tone, however varied the tints of the objects

in reality may be.

Another singular appearance takes place in remote objects, of which no

one has so fully availed himself as Turner, for the production of

pictorial beauties, and the brilliancy of sunshine. The atmosphere,

which becomes most visible when before shadows, is frequently so much

illuminated by the sun's rays, as to make the shadows appear nearly

equally light with the illuminated parts of the objects; and the only

distinction between the lights and shadows is to be found in the

difference of tint--the shadows being blue or purple, and the lights a

warm yellow, or fleshy colour.

The practice in art, both in Oil and in Water colours, has been an

imitation of the process of nature, and with similar results. It is

usual in Oil to paint the distance stronger in colour than it is

intended to remain, and when dry, to pass some very thin opaque colour

(technically to scumble) over the whole. Thus the most perfectly

aerial tints are produced. In Water Colours, owing to the different

quality of the materials employed, another method is adopted. White,

or any opaque pigment (except when used in conjunction with Oil

painting), has a disagreeable effect; so it is considered advisable

partially to wash out the too highly coloured distance, and aerial

tints similar to those produced by the scumble are obtained.

However requisite it may be philosophically to account for these

appearances, it is unnecessary to perplex the reader of the present

work with a questionable statement of the greater impetus of rays of

certain colours enabling them to penetrate through the dense

atmosphere, while others are more feeble, and are swallowed up and

absorbed by the medium through which they in vain essay to pass. This

may be a very pretty story to amuse children with, and such

philosophers as are verging on their second childhood; but while so

simple a method can be discovered of accounting for the blueness of

the sky and distant objects, and one that can be so easily exemplified

as that given in the previous pages, we shall not be the parties to

contribute to that amusement, by writing "the history of some blue

rays that were lost in a fog." Nor is this the place to point out the

absurdity of such theories; it will be sufficient to remark that _if_

they are correct, all distant objects must appear _red_; and the

blueness of the sky can only be accounted for by the hypothesis, that

the atmosphere is a sort of trap for the blue rays of all the light

that has passed and is passing through it!

Such being the effect of the atmosphere, and such being the

antagonizing influence of Association in looking at Nature, it has

been found necessary for the purposes of Art, in representation, to

exaggerate the former, to overstep the modesty of Nature, and thus to

produce what may be termed conventional imitations or translations of

Nature.

For, in looking at a picture, Association again affects us; and as we

know what is before us to be a flat surface, this can only be overcome

by increasing the effects produced by atmospheric influence,

reflections, refractions, &c. Hence the colour of all distant objects

are reduced to some tone of grey, oscillating between the extremes of

bright blue or even purple, and the medium between black and white as

the subject, may be in sunshine cold daylight; or, as the taste of the

artist may lead him to prefer one scale of colouring to another. Those

who delight in the sunny skies of Italy, or tropical climates,

represent the distance by the purest blue that Ultramarine affords.

Others, who delineate the village church or cathedral tower, represent

them of a dark grey. Mountain scenery is represented of a deep Indigo

blue, sometimes inclining to a decided purple, as all must remember in

the drawings of the late Mr. Robson.

If this exaggeration or pictorial license be objected to, as an

unnecessary departure from truth or the beauty of Nature, let the most

inveterate worshipper of verisimilitude place himself before a

landscape under bright sunshine, on a clear day, and make an exact

representation, if he be able, of what he sees; and he will be

convinced that in such an instance, something more and very different

is required, to make a finely coloured picture. It cannot be that the

colours of the original are deficient in beauty, but that an essential

quality of the beauty of Nature cannot be preserved by Imitative Art.

He will find that it will not be possible to preserve even slightly

the gradation of tints before him, without descending almost to

blackness in the shadows, which will be destructive of brilliancy of

sunshine, and at the same time, of that quality which is indispensable

in a work of Art, _breadth_. He will find that in comparison with the

brightness of the sky, the trees will look as dark as they are

represented by Ruysdael and Hobbima, but who incontestibly do not give

the idea of sunshine. As in translating from one language to another,

he will find that a literal version may give the bones, but not the

spirit of the text; and that something more is required to transfer

the full force and character of the original. Herein consists a great

part of the art of colouring objects. It may be that the scene being

unbounded in Nature, is acted upon by extraneous circumstances which

cannot be called to the aid of a picture.

As it is impossible with pigments to rival the brightness of light, it

has been found necessary to adopt some method of forcing the effect of

colours, so as to conceal or to supply a compensation for this

deficiency, and _apparently_ to produce the vigour of truth.

This has led to a division, which rivals in fierceness as in name, the

feud of the Bianchi and the Neri of Italy, into two great schisms or

factions of colourists, of whom, it is to be regretted, too many are

apt to consider those of the opposite party as lost in the depths of

absurdity. The hostility and contempt are quite mutual, and equally

ungrounded.

A writer in Blackwood's Magazine of the Neri faction says, "We have

received a prescriptive right to make war upon the rising heresy of

light pictures, and we will wage it to the knife," or some such

expressions.

Certain tones of colour have been found to be almost universally

recognized as agreeables; and by the above mentioned class of artists

and critics, the Neri, it is held to be "fine colouring," to reduce

every representation, without consideration of propriety, to these

conventionally agreeable tones. Plate. Sir Joshua Reynolds commends a

picture of a moonlight scene by Rubens, which is so rich in colour,

that if you hide the moon it appears like a sunset.

The background of the far-famed Mercury, Venus and Cupid, by Corregio,

in the National Gallery, and the sky of the Bacchus and Ariadne, by

Titian, in the same collection, are instances of this practice, the

use of conventionally agreeable tones, which may be seen by every one.

It would be difficult to say what the former was meant for, except

_background_ to the figures; and no one ever saw a sky such a blue as

the latter. It irresistibly brings to mind the counter-criticism of a

sceptic to the admiration of a landscape by Poussin, in which Sir

----, a worshipper of the old masters, was indulging:--"What I like so

much is, it looks so _like_ an _old picture_."--"Yes," said the

sceptic, "and the _sky_ looks as _old_ as the _rest_ of the _picture_,

for you never see such a sky now-a-days."

The Neri apparently give up all hope of rivalling the brightness of

nature; but by forcing the shadows and general tone of the whole

picture, endeavour to produce the same _gradation_ of light and shadow

as in nature, but on a lower scale.

The Bianchi party, on the other hand, endeavour to compensate for the

want of positive brilliancy, by refining or increasing the delicacy

and beauty of the tints.

Light is the origin, or immediate cause of _colour_, and the brighter

the light, the greater variety of tints will be found or displayed. As

we cannot rival the cause, the Bianchi contend that we must increase

the effect by introducing _colour_ in lieu of those _tints_ which in

nature appear neutral; and thus conceal the weakness of our imitation

of the cause, by making it apparently produce greater effects. Thus

all greys are rendered by pure Ultramarine blue tints, or delicate

pearly purple, and the greatest possible variety of beautiful and

delicate colours are introduced in the light; while the shadows are

generally of a neutral colour, the most decidedly contrasting with the

tints in the light. But sometimes the colour is also carried through

the shadows as well as the lights; positive crimson being introduced

into those of leaves or grass; while those of flesh are rendered by a

dull red; and those of a sandy bank by pure blue. Plate.

The Neri complain that the Bianchi want tone, and the Bianchi that the

Neri want purity and light.

Each of these factions contends, that all the difficulty of fine

colouring is to be found only in their own aim; while they hold in

perfect contempt the productions of their opponents, as being of such

facile achievement as to the sarcasm of Michael Angelo,--to be "fit

only for children," and beneath the attention of those who profess to

study the Fine Arts.

[Illustration: THE NERI]

The main difference between the principles of these two parties or

factions, will be found to lie in the treatment of the atmospheric

influence and association, previously alluded to. The Bianchi availing

themselves of the former circumstance, as a reason for introducing a

great variety of pearly greys, on the purity and beauty of which they

contend fine colouring is dependent; and the Neri availing themselves

of the latter, as an excuse for the introduction of breadth of warm

tones, and the omission of as much as possible of the cool tints,

which are deemed so indispensable by their rivals; they limit the

representation of atmospheric influence to the least possible degree.

Titian's Venuses are masses of the local colour of flesh, broken with

so little half-tint, that they are scarcely round, and satisfy few but

critics sufficiently learned in the Art, to be contented with the

beauties of _Art_, as a substitute for the imitation of _Nature_.

This class of colouring is founded upon the power of Association,

previously alluded to, by which, the local colour overpowers the greys

of atmospheric influence; in other words, that to the eyes of the

many, _flesh_ looks of a _flesh_ colour, and ought to be so

represented. But the _full_ effect of Association is here not allowed

for. In looking at flesh, we know it to be flesh colour; and we know

it to be round; and it requires some education of the eye to discover

the atmospheric influence, as well as the minute gradations in form.

But on the other hand, in looking at a picture, we know it to be a

flat surface; and however far the _imagination_ may be willing or have

a tendency to supply the deficiencies in the representation,

_Association_ is an _antagonist_ and not an ally. This will become

evident upon making outlines of objects and filling them up with flat

tints; imagination will not have power to make them appear to be

round, or to recede. The beauties of this class of colouring are

solely conventional.

Titian, Giorgione, and Sir Joshua Reynolds lead the van of the Neri;

Rubens, Vandyke, and Lawrence are at the head of the Bianchi; unless,

indeed, we should consider Turner as general-in-chief of the latter.

Claude was probably of the Bianchi faction; but Time, who is the great

ally of the Neri, has made him appear in some of his productions an

adherent of that party.

It may be added, that most historical painters lean to the Neri

faction, on account of the disadvantage arising from too close an

approach to the common appearance of every-day nature, of which the

effect is described in the proverb, that "familiarity breeds

contempt," and consequently is destructive of that grandeur,

solemnity, or refinement which is indispensable in high art; and they

take refuge in the "cloistered tone" of Ludovico Caracci, so commended

by Sir Joshua Reynolds, a conventional beauty which will presently be

noticed. The Landscape painters, on the other hand, almost universally

belong to the Bianchi party; as truth or _apparent_ truth is so much

more indispensable in subjects that only display the scenery of

nature, and which depend upon that resemblance for producing an

impression, than in subjects which appeal to the passions by the

display of some stirring incident. From the nature of the materials

employed, the tendency of oil painting is to the side of the Neri;

whilst the general inclination induced by Water-colour drawing, is in

favour of the Bianchi party. The _alleged_ principle of the colouring

of the Neri is deduced from the hypothesis laid down by Sir Isaac

Newton, that neither white nor black are _colours_, therefore say the

Neri, "neither should appear in a finely coloured picture; the

brightest lights should not be white; the deepest shadows should not

be black;" nevertheless, those productions which are cited by this

party as the finest specimens of colour in existence, _do_ contain

both _white_ and _black_. In the celebrated picture by Giorgione,

copied recently by Mr. Ward, R.A., to the eye of the uninitiated are

presented both white lights, and black shadows. The former, it is

true, are reduced by _Time_ or glazing; and the latter are excused as

having lost their original colour.

But this principle can scarcely be said to be carried out, except in

such pictures as possess the "cloistered tone" of Ludovico Caracci

alluded to. Here the lights are warm and golden, as if transmitted

through stained glass. The atmospheric greys are introduced to no

greater extent than is indispensable to prevent the picture appearing

rusty. The shadows are deep rich browns, into which are thrown still

warmer reflections; and the whole picture is subdued to a

soft-mysterious effect, which is admirably adapted to produce what is

technically termed _repose_, and to excite gentle, reverential,

solemn, and even affectionate feelings. It is a style of colouring

peculiarly suited to religious subjects; and in representations of

interiors, may be said to be like nature, because Nature _may_ be made

to appear like it. (_See Plate._)

[Illustration: THE BIANCHI]

This principle of colouring may be carried out on a higher scale than

is generally found among the productions of its advocates, and

abstractedly, is undoubtedly calculated to lead to very beautiful

results; though it may be questioned, whether it is sufficient to

entitle the party exclusively to arrogate to themselves the

designation of _colourists_, as they are in the habit of doing. For

the principle of the Bianchi is likewise adapted to produce

exceedingly beautiful colouring; and without some rational or

scientific standard by which the comparative beauty of individual

colours may be determined, so as to distinguish between fine colours

and fine colouring, the admirers of this class of colours may, with

the greatest justice, contend that it is equally beautiful with that

of the opposite party; while it has this superiority, that it will

enable the Artist to produce much more resemblance in the

representation of _external_ nature, and will be much less artificial

in the effects produced as imitation of interiors.

And they derive a strong argument in favour of their mode of

proceeding being correct, and most likely to stand, from the

circumstance, that the pictures of Vandyke, many of which are _now_

claimed by the Neri as painted on their principle, when first done

were frequently censured as being too _raw_ or _white_.

Further, it should be observed that, by too many of the Neri party,

their great object of worship, _Tone_, is limited to the rich warm

brownish yellow which is legitimately superinduced in oil pictures by

the action of Time, or glazing; and surreptitiously obtained by

washing with tobacco-water. But an inspection of the works of the

Dutch school, who belong to a third party which considers both the

Bianchi and Neri to be in the wrong, as too artificial, will show that

_tone_ may be cool as well as warm, and that there is a silvery _tone_

which has as devoted admirers as those of the Golden Image--(_see

Plates of Ruysdael and of Ostade_).

[Illustration: THE DUTCH SCHOOL]

It may not be becoming in the author of the present work to decide

between these great disputants; but from the statement respecting

Vandyke's pictures, that they were considered _raw_ when fresh

painted, as well as from the nature of the materials employed, it is

evident, that the productions of Titian, Giorgione, and other

celebrated colourists, were not, when first painted, of such deep

tones as they exhibit now; and it may be suspected that the

reputation, which was derived from the _original_ colouring of their

pictures, has, to a certain extent, been attached to the colouring

they at present exhibit; and that veneration of talent, and respect

for authority, have given sanction to what would be repudiated by the

Great men whose names form the slogan of the party, and is not really

entitled to commendation.

That the two principles may be combined, and so produce higher

qualities than either affords alone, is hardly possible, when their

opposite treatment of the effects of atmospheric influence and

association are taken into consideration.

But this compromise may be made between them with advantage both to

Amateurs and Artists; that the style of the Neri, including that of

the Dutch school, may be considered as most applicable to the

representation of interiors and quiet or grand subjects; while that of

the Bianchi may be considered as most suited to exteriors, and

subjects of gaiety and animation.

For the benefit of the Amateur, it will be necessary to say something

more upon the style of colouring adopted by the Dutch school, the

productions of which among the cognoscenti, are termed pictures of

_Tone_; tone being in this instance used in opposition to positive

colour, and as implying varieties of the ternary combinations, called

neutral tints, or greys, but otherwise possessing the qualities of

tone in a general sense, namely, transparency.

This style of colouring is peculiarly adapted to the class of subjects

on which the Masters of the Dutch school generally exercised their

pencils, homely interiors; but when applied to out-of-door scenes,

although undoubtedly possessed of certain conventional beauties, such

as harmonious arrangement and balance of tones, it has a tendency to

look dull and heavy. The landscapes of Ruysdael and Hobbima do not

reckon among their beauties, that of vivacity or cheerfulness. They

may be clear and bright and fresh, as their admirers say, but they do

not represent Nature under her most bewitching aspect, nor is the

style of the school adapted to do so. It leans to the side of the

Neri, from its dread of brilliant colours. It is unaffected, sober,

and in many instances, such as interiors or close woody scenes under

grey daylight, possesses great truth; but from its limited

application, and unpretending effect, is scarcely to be put into

competition, as a style of Fine Colouring, with the higher aims of the

two great parties before mentioned. Plate.

Such is the present state of the theory of Fine Colouring; from which

it is evident, that, except in a very limited class of subjects, Truth

_cannot_ be made the test--that even in this class of subjects, it is

disputed whether it _should_ be made the test; and that it is also

disputed, to what extent a departure from truth is admissible; or

rather, what quantity of resemblance to Nature is indispensable, and

what method may be the best of compensating the want of accurate

transcription; in short, what is the true _idiom_ of Fine Colouring in

Art, so as fully to translate the beauties of Nature.

The fashion of the day rather leans to the Bianchi party in

Water-colour drawings, if not in Oil paintings; but the principles of

_none_ of the parties are _fully_ developed in the works of their

existing followers. The followers of the Dutch school are sacrificing

part of their truth for some, but it may be doubted whether the best,

part of the conventional tones of both the other parties. The Bianchi

are more regardless of truth than they need be, even to develope their

principles to the utmost. And the Neri admit themselves to be

wandering in a maze, without any fixed ideas of their own principles,

and therefore are less frequently successful than the reverse; and

they are equally obnoxious to the charge of departing farther from

truth, than is necessary to give their own principles full play. Very

recently a heresy of this faction adopted a peculiarity of tone, which

is not to be found in the works of any of the great men of their

party; and which is obnoxious to two serious objections. It is a

greenish tone that unavoidably excites the idea of corruption and

decay, which, having a tendency towards the disgusting, is not

tolerable in the Fine Arts; and the second objection is, that, in

their zeal for transparency, they had lost solidity to such an extent,

that a portrait of George IV. by a celebrated artist, had the

appearance of a vision, or of having been spun out of green glass

bottles.

The beginner and the Amateur have already been warned against the

dangers of green in pictures. And it may now be added, that

transparency should reside in the _colours_ to conceal the appearance

of pigments, but that the substances represented should appear as

_solid_ as in nature.

CHAPTER III.

SECTION II.

COLOURS OF LIGHTS AND SHADOWS.

Whatever party of Colourists may find favour in the eyes of the

reader, it will be necessary for him to be aware of certain effects

observed in Nature, of which he will make such use as is admissible

under the principle he may adopt.

Colours reside in the light parts of objects, if not brightest on the

lightest parts, closely adjacent to them.

Shadows reduce, blacken, or render negative the colours of objects.

The edges, extremities, or boundaries of _all_ shadows are _grey_.

From the effect of contrast, shadows appear _comparatively_ of the

opposite colour to that of the light. The Bianchi take advantage of

this circumstance, and sometimes force or increase the colour of the

shadow, to bring out that of the light without really tinging it so

_deeply_ as is the case in Nature; whereby greater brilliancy is

retained.

The colours of the lights and shadows depend upon that of the

illuminating power, whether sunshine, moonlight, or grey daylight.

These will be separately pointed out.

[Illustration: SUNSHINE]

CHAPTER III.

SECTION III.

SUNSHINE.

The degree to which the colours of objects will be affected by that of

the source of light, will very much depend upon the strength of the

illuminating power.

The light of the noonday sun is so vivid that it diffuses its colour

over all the illumined parts of the objects under its influence. These

assume a rich golden hue, through which the local colours of the

objects are slightly distinguishable, but rather as modifications of

the warm tone diffused by the rays of the sun, than as integral

varieties of tint.

As already has been noticed, the obvious effect of a yellowish light

upon a blue object would be to induce a greenish tint; but in the case

of sunshine, this is counteracted by the brilliancy of the light, and

in representation, it is necessary for the same purpose, to infuse

sufficient red into the light of blue objects under the influence of

sunshine, or a disagreeable heavy effect will be produced.

Green, yellow, and orange objects become particularly brilliant in

sunshine.

The shadows of the foreground are, in Nature, particularly negative or

colourless; but as they recede, become gradually more blue. Sir Joshua

Reynolds has made the shadows on the arm of his Sleeping Girl nearly

black. He is one of the Neri. The Bianchi would have made them partake

more of the colour opposite to that of light, purply brown, broken

with red reflections. The shadows on green objects in the foreground

would be rendered by dark crimson. Sir Thomas Lawrence frequently used

pure lake in the shadows of his grass or shrubs. Plate.

CHAPTER III.

SECTION IV.

SUNSET.

At Sunset there is even less variety of colour observable in the

illumined parts of objects than when the sun is higher in the sky.

This arises from the influence of the atmosphere previously alluded

to. A greater quantity of the medium is loaded with light, and the

local colours of the objects seen through it are consequently affected

to a greater degree thereby. The colour of the light is also affected

by the medium through which it passes, and it becomes much richer, and

more nearly approaching to orange.

The light in the sky, or illuminating power, is made yellow; but the

lights on objects are rendered of a fleshy colour, which is made to

appear warmer by the opposition of positive purple shadows, while

those objects which do not receive any of the sun's light are kept

very cool grey (the effect of reflected light from the blue sky),

which by contrast throws the whole of the illuminated part of the

picture into warmth. Frontispiece.

[Illustration: MOONLIGHT]

CHAPTER III.

SECTION V.

MOONLIGHT.

The light of the moon being white or silvery grey, the shadows are

made comparatively warm browns. The appearance of moonlight is given

by the colours on the illuminated objects in the picture, which are

made to appear cooler than they really are, by the contrast with the

warm shadows. By this means, much more colour may be introduced into

the light than is usually observed in Nature, and without impairing

the effect of moonlight; and the Bianchi contend that by such means

greater brilliancy is obtained. The blues in the sky near the moon are

kept very pure for the same purpose. Plate.

[Illustration: GREY DAYLIGHT]

CHAPTER III.

SECTION VI.

GREY DAYLIGHT.

Grey daylight also affords brownish shadows, but from the greater

quantity and diffusion of comparatively colourless light, the local

colours of objects become more visible, while the shadows are more

varied by reflection and refraction. Reflections take their colours

from those of the objects by which they are occasioned. The lights on

objects are treated as in the case of moonlight; they are made

_positively_ warmer than they appear in nature, and are rendered

_comparatively_ cool by the warmth of the shadows.--Plate.

* * * * *

The degrees to which these licences may be carried, must depend upon

the style of colouring adopted. The Amateur has had them placed before

him, and whichever he may choose, he will be certain to meet with

success in the eyes of one party; he cannot hope to please all.

J. M. BURTON, IPSWICH STEAM PRESS.

End of Project Gutenberg's Colour as a Means of Art, by Frank Howard