[10] Juv. Sat. 8; Plin. 1. x.x.xv. c. 2.

We have decided against frescos in what are called sitting rooms: your oil pictures are, however, to be selected. I shall consider the library as distinct from the drawing rooms; but it is quite possible to blend their character. The library in the ducal palace at Urbino, had a room or study adjoining it, decorated with portraits (in this case, by the way, they appear to have been frescos) of learned men of all ages. In a library, literally to be used as such, pictures of extensive interest seem to be inappropriate. They may be said to divert the attention from the business or amus.e.m.e.nt of the place. But the portrait of the poet, or the sage, is a source of pleasing and elevating a.s.sociations, and may sometimes command a deep interest. The library may contain the cabinets of gems and medals, the collections of engravings, the terra cottas, &c.; or if the drawing room is ample enough, all these treasures of virtu may be deposited there. I prefer a library without coloured decorations; the wood-work may be carved in flat relief, even to the panels of the walls; a mode of decoration now beautifully supplied by embossed leather, which need not be dark in colour.

Whatever colour appears, except in the portraits, miniatures, or illuminations hung around, should be in the books; these should strike the eye, and be, so to speak, in the foreground of the picture. Vases, or busts, may surmount the cases. The ancients preferred the latter; and many, like Asinius Pollio, collected in their libraries the authentic, and even imaginary, portraits of great men. Among the latter was the bust of Homer.[11] The light is generally so unfavourable in the upper part of modern rooms, that busts when placed so high, are reduced to mere ornaments, and require the addition of names. This, indeed, is not objectionable in any case, for the interest of a portrait commonly depends on historical a.s.sociations. I see no objection even to inscribing both the subject and the name of the master under works of art generally: a volume bears its t.i.tle and author's name; and pictures, to many, are as sealed books till inquiry is stimulated or interest quickened by similar means. When the description is too long to admit of this, the words "see Catalogue, No.

--" might be added.

[11] Plin. 1. x.x.xv. c. 2.

If colour is admitted any where in the library, it might be in subjects on the ceiling, allowable here, if at all, in the region of easy chairs and occasional meditation; perhaps too, to a certain extent, in the windows. The introduction of subjects on ceilings has not been recommended generally, but in the system of arabesque painting the universal decoration of the walls requires to be carried into the ceiling. Sculpture, from the reasons already given, or rather in accordance with the same taste, is quite admissible in the library.

Cicero frequently writes to his friend at Athens, to send him any good works in sculpture, fit to adorn the library and residence of a man of letters.[12]

[12] Epist. ad Attic. 1. i. c. 3, 8, 9, 10, &c. It is remarkable that a bas-relief, in the finest Greek style, representing a philosopher reading, was found in the ruins of Cicero's Tusculan villa. Some English sculptors and myself, during an excursion from Rome, first, I may almost say, discovered this marble, walled into the staircase of the Episcopal palace at Grotta Ferrata. A mould was afterwards taken from it, through the exertions of Mr. Gibson, and the cast is now common in Rome. The marble was, I think, afterwards removed to the Vatican.

But the choicest works of taste should unquestionably be in the room most occupied in hours of calm seclusion and leisure; and in order to find wall enough for the pictures, this may be a.s.sumed to be the princ.i.p.al drawing room. Here, therefore, may be the best specimens of painting, and even of sculpture, if the s.p.a.ce permits: here, the chimney-piece may be by Flaxman, and the doors of the print-case by Stothard. The pictures cannot be very large, on account of their number and the size of the room. This, the objection which in a great measure excludes the grandest works from our dwelling houses, was met by the Italians, and by Nicolo Poussin, by reducing the grand to domestic conditions. If you have only small pictures, however, you cannot cover the upper part of the walls, for you are not supposed to have any work of art _here_ which can be sacrificed.

Enlightened connoisseurs see excellence both in the Dutch and Italian schools, but they are often embarra.s.sed in arranging them together. I am convinced, however, from instances I have seen, that this is to be accomplished satisfactorily. It is sometimes argued, that no one reads Milton and Crabbe alternately; but this is hardly a parallel case. Many go to a gallery to look at a particular picture, and see nothing else; the eye is blind when the attention is not actively exerted. So in a room, the spectator selects his favourites--his favourites at least for the time, and scarcely looks beyond them. At another moment, he will perhaps direct his undivided attention to works which he pa.s.sed over on a former occasion. A certain congruity is sometimes to be accomplished, by attending to impressions rather than names and schools. Many an Italian picture would not be out of place with the Flemish and Dutch school; while Vandyck, Rembrandt, Cuyp, and others, might sometimes harmonize in many respects with the genius of the south. The arrangement of pictures comprehends some of the difficulties which the artist experiences in the production of _one_; for a certain balance and repose are as essential for the eye, as an harmonious impression for the mind. Much must, therefore, depend on the nature of the materials; and the (a.s.sumed) different character of your two drawing rooms may here be an advantage.

You, I know, will not ask whether the productions of the English school are admissible in this "Tribune" as well as elsewhere. Such is the variety of English art, that the more refined Dutch, the Flemish, and the Italian taste, may be recognized in it by turns, and no modern pictures harmonize with the scheme of colour and effect which characterize the master-works of former ages so well as the English of the last century. Thus much of schools, and those we have not mentioned may be tried by the same tests.

With regard to subjects, the mind as well as the eye must be respected: the _ethos_ of painting is quite compatible with familiar and homely subjects; and, on the other hand, the greatest Italian masters have sometimes sought for poetic impressions in regions where it would be unsafe to follow them. But, with this reservation, you must not be exclusive: various minds, or the same mind in various moods, will like variety of aliment. In other situations, which we have had occasion to consider, the subject has been in a great degree calculated on the probable feelings of the spectator; here, the subject is independent, because the attention is free, and the whole art appeals by turns to the whole range of thought. The leisure of cultivated human beings should be so far complimented as to a.s.sume that all the strivings of the mind are worthy to be ministered to. It is a mistake to suppose that solemn or even terrible themes are always objectionable; I believe it will be found that the grander efforts of invention (I speak of works by the ancient masters) are very generally appreciated by the gentler s.e.x. On the other hand, the fondness for humbler subjects is not always referable to the homeliness of the incident represented. The subject often acquires elevation, and commands respect, by the evidence of mental labour and power in the artist. To a true connoisseur, this skilful application of principles derived from universal nature, supersedes the mere subject; and the idea which he recognizes, whatever may be its vehicle, is grand and poetical. Less experienced observers are often deceived by the t.i.tle of pictures: "A Court Yard" (de Hooghe) sounds unpromising enough; but when it is seen that the painter has represented _daylight_ with magical truth, and that all is subservient to this, his aim must be acknowledged to be dignified. It is to be observed too, that the influence of this high aim on the part of the artist, often extends itself to the treatment of the materials which const.i.tute his ostensible subject. It is easy to see from the unaffected feeling, as well as from the _relative_ character of the execution in some (though not all) of the Dutch masters, that the real subject of their meditation was n.o.ble. I should like to see a _catalogue raisonne_ on the principle to which I have alluded, distinguishing the t.i.tle of a picture from the real intention of the artist. Many frequenters of the National Gallery criticise Reynolds's Three Graces, whence it appears they are not sufficiently aware that the personages in question are portraits of three fashionable ladies of the day, under the name of the Graces, &c. If some t.i.tles were translated, what a contrast the real import of the work would present to the actual name! What a change, for instance, from the modesty of some of ----'s t.i.tles, "Crossing the Brook,"--"Coal-barges in the Thames: Night," to the beauty and grandeur that would have to be clothed in language! But what language would be adequate?

With respect to the colour of the walls on which pictures are hung, my opinion is singular without being novel. I am quite aware that it is necessary to consider wall, pictures, gold frames, and all, in relation to general effect: the gold, especially, is to be treated as part of the coup d'[oe]il. But, though I remember examples of light walls hung with pictures, producing an agreeable effect, I prefer a colour which displays the pictures more, and must also maintain, that living pictures are seldom seen to the best advantage against a bright ground; the quant.i.ty of actual light (it may always be a.s.sumed) making reflected light unnecessary: my idea, in one word, is, that the wall should not be so light as the lights of the pictures; and this supposes a sufficiently low tint. Of such colours, the most agreeable is the long established rich red, which might be sufficiently allied to purple, to give value to the gold frames and the warm colour of the pictures. I need not recommend you to avoid too much unbroken polish in the frames, since this is now very generally disapproved of.

I have, as you see, exercised, apparently without scruple, the dictatorial authority with which you have invested me; but the frequent recurrence of "my opinion" becomes painful even to the arbiter who has a _carte blanche_ to lay down the law. As a relief, I intended to have given you some extracts from an Italian ethical work (printed about the middle of the 16th century[13]) in which there is a chapter on the "ornamenti della casa;" but they would have been, perhaps, little suited to your purpose, and I have already far exceeded the s.p.a.ce I ought to occupy. As I may not, however, again have an opportunity of alluding to this work, which is not unimportant in the history of Italian art, I wish briefly to advert to one or two points.

[13] Castiglione Saba, Ricordi ovvero Ammaestramenti, &c. Milano, 1559.

The list of pictures given seems to prove that the Italians long remained faithful to the older masters. The names of t.i.tian and Coreggio do not appear! (I hope you will not follow the Catalogue in such defects.) This is not to be explained, by supposing that the writer speaks for himself only; for he repeatedly says, "Some like to ornament their rooms with the works of ----, others, with those of ----," and so on, as if professing to give a variety of tastes. I can only account for this in one way: the author lived in Milan, and it would appear that the taste of Leonardo, closely allied as it was to that of the schools of Central Italy, long continued to influence the Milanese amateurs as well as the Milanese painters.

I pa.s.s over the musical instruments, which, beside their chief use, "piacciono a.s.sai al'occhio," especially when made by Lorenzo da Pavia, or Bastiano da Verona. Donatello, Michael Angelo, Alfonso Lombardi, and Cristoforo Romano, are the sculptors he enumerates. The terra cottas are by Pagaino da Modena; the bronzes by Verocchio and Pollaiuolo.

Beside antique medals, he admires those of Giovanni Corona of Venice, together with the chasings of Caradosso. Among the works of the latter, he mentions a silver inkstand in ba.s.so rilievo, "fatica d'anni venti sei! ma certo divina." Cameos and intaglios should be, he thinks, by the hand of Pietro Maria, Tagliacarne, &c. but above all by Giovanni di Castello.

Now for his list of painters: Filippo Lippi, Mantegna, Giovanni Bellini, Leonardo da Vinci, although, he adds, he left but few works.[14] Then follow the younger Lippi, and Perugino, and, heralded with appropriate honours, Raphael, accompanied by Giulio Romano. Pietro della Francesca, and Melozzo da Forl, are characterized well, as indeed are all the painters. He next mentions some artists, all monks, who wrought in inlaid wood; (commesso, tarsia;) but his highest praises in this department are reserved for Fra Damiano da Bergamo, the artist of the choir of S. Domenico at Bologna. The engravings he speaks of are by Albert Durer and Lucas van Leyden.

[14] The author says he was an eye-witness of the Gascon crossbowmen making a target of Leonardo's model for the equestrian statue of Francesco Sforza.

Tapestries from Flanders, carpets from Syria, Turkey, and Barbary, figured leather from Spain, are all admitted to be desirable ornaments: "Tutti questi ornamenti ancora commendo perche arguiscono ingegno, politezza, civilita e cortegiania." The author next describes his own treasures; but, except a head by Donatello and some rare books, he has nothing to boast of. His tastes are characteristic of the age: though a priest, his ambition is to have a collection of arms and armour, if wrought by a good Italian or German armourer; and above all, he aspires to the possession of a large steel mirror, of the kind made by Giovanni della Barba, a German: the mirrors of gla.s.s then in use, were, it appears, very small and imperfect. The author's judicious observations (to which I refer you) on the chief use of mirrors, may reconcile you to their occasional introduction over chimney pieces, which, for the rest, are by no means the best places for pictures.

The chapter ends with a pleasing story about a mirror and a lady, and Galeazzo Visconti, Duke of Milan, a story not unworthy to be a _pendant_ for "Collalto,"[15] and which might have furnished a subject for the graceful pencil of Stothard; but it is time to make an end.

I am yours faithfully,

C. L. EASTLAKE.

[15] See Rogers's Italy.

FINIS.

[Ill.u.s.tration: _Maistre, il sembleroit que ne fussiez grandement sage de nous escrire ces balivernes!_]

LONDON: C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE.

[Ill.u.s.tration: Plate II. South elevation.]

[Ill.u.s.tration: Plate III. North elevation.]

[Ill.u.s.tration: Plate IV. East elevation.]

[Ill.u.s.tration: Plate V. Proposed alteration of the tower.]

Transcriber's note:

Text in small capitals was transformed to all capitals.

The following corrections have been made:

p. 22: "expect too much" Period added after much; "pure Pompean house"

Pompean changed to Pompeian;

p. 36: "into a small anti-room" anti-room changed to ante-room;

p. 40: "not a toothach" toothach changed to toothache;

p. 42: "statues and bas reliefs" bas reliefs changed to bas-reliefs;

p. 48: "particlar fashion of the day" particlar changed to particular;

p. 50: "LOCK EASTLAKE, ESQ," Comma after ESQ replaced with period;