New-York tribune., 1874-11-12
THE Art Oh PAINTING.

ITS PLACE AMONG THE ARTS DEsIGN-lTs BE-
| GINNINGs AND DEvELOPMENT-THE PERFECTION
OF THEORIES AND PROCESSES BY THE ITALIANS
CHARACTERISTICS OF THE OLE MASTERS.
IFROM AN OCCASIONAL CORRESPONDENT OF THE TRIBUNE
NEw-HAvEN, Nov. 1.-THE second in Prof.
John Wier series OF art lectures was delivered TINS
evening to large audience The lecturer began by de
ning painting the art Of expressing the concepohS
Of the artist by Of the sensible appearance Oh oD
jects in nature, represented smooth surface py
their forms cOors" This is the latest developments
OF the Of design Architecture came rst ana theh
sculpture which, though simple In Its methods was mhue
by the Greeks beauty OF the highest Rn"'
But painting is dependent upon science. upon ehe"
try the mathematical element ia perspective anu
foreshorening and so these scientific questions were
first to be solved before the painter could be furhsncu
with elements Of his art. Then there are other
considerations which have to be taken into account
Architecture the first because the most drecuy
practical OF the three As the aesthetic sense deveopeu
with the advance in intelligence and philosophy came
the ideas and forms OF mythology wtn
scope the artist and Its appeals to his auDop
and thus sculpture called into being. Then came
Christianity suppantlng the ideals OF the pody WIN
those OF the SOUL Instead OF models OF nero physca'
beauty we have the expression Of moral sentiment
For this hi CHER duty painting is peculiarly adapted
blush palor glance OF the eye thousand part'eu-
larities nadmissble sculpture assist In the
Interpretation OF the mind.
In tracing the development Of painting we must Oeeh
with Nicola Pisano and the School Of Pisa In the l5h
century AT this time art such IL was, was IN Inc
hands Of modern Greeks, who worked mostly III mosaic
and had adopted certain conventonaites from when
advance made till the Pisan School introduceu
the study OF the antique. Nicola Psano scuiPtoi'
broke away from tradition sufficiently to study Win
few specimens Of the antique within his reacn
and taught by him, other artists OF the day threw OIL Tue
Gcboo and mt prpIO On
independent study OF the ancient Greeks 1t was LETT 10
Cmabue and his Florentine however to gVo
to painting q new and distinct life. Previous 10 his
time painting was confined aud panels pre-
pared with surface of gypsum. Oar Jar yes coiecuou
belongs mainly to early period and illustrates per
fectly the methods then in THESE paintings arc !"
panel. covered with thin preparation OF lime or gVp
sum- which affords a smooth. white. absorbent ground
and the color il applied with gums or preparation
called water composed largely OF the WHITES OF eees
They are characterized also by lack of KNOWLEDGE oi
perspective and foreshortening, rigid ana iorha'
treatment OF drapery, general sameness IN Tue a''
tudes; the long, lean, and devoid OF nature
and expression and the feet rested the toes Gina
bue not only treated his subjects with greater ireedo
but the discOverer of the value OF oil IN the art
With Glotto the pupil of CImabue, began portrait
painting and under his guidance ana that OF MS disci
pies 1lud the ar shaking of the sharkes whch had
bound it 80 long and developing into tie full glory oil
Italian art GiotO's works mainly IN iresco ana
very extensive, filing entire churches with designs
crowded with figures which there is that marked in
dividuay which denotes the study OF nature In the
chapel of the Podesta Florence for instance, is
group, in large fresco, of the Savior In glory sur
rounded By hosts of angels. in which Dante. Brunette
Iatlni and Corso Donati appear among the figures.
With MN too Cavacasele tho system OF cooring
considerable change; and while it gained
lightness cearness equally new and remarkable;
But in many things the followers OF Glpto still re-
at,. NpnII1
spective particularly little advance was made
PIcro della Francisco who was born at the close OF tue
fourteenth century appears TO have been the rst who
revived the Grecian practice OF rendering geometry SUD
discoverer the science perspective. The develop
chaiOscrO as an expressive element III art Was
re served for Leonardo da Vinci.
scientifically in art accord ng to general prnc
pies Leonardo Vinci and Michael Angelo. the two
great of this school, not only prod Immortal
paintings, to the art Its inmutabe general
principles Leonardo especially painted put tte Deing
occupied abstruse studies bearing upon tue theory
and of art rather than its practice Wiih these
two men and their associates OIL painting properly |
begins and with them its possibilities are best illus |
trated Tne remainder of tho lecture. therefore, was
panters Leonardo Michael ANGELO Raphael, Corregpio
sancea cgmbodiment OF the OLD Greek sense OF beauty
of united with the appreciation OF spiritual loyei
Angelo ana Raphael design reached It's highest perfec-
ton for ORA WING grouping composton aud grandeur
Of this fundamental and great feature Of art. But
other developments were to be ADDED. & CorregslS
color to its highest point. The fIeness OF |
his gradatons the DerfusOn OF his colos which How as u
were usensiDy increasing and diminishing; me sOtness
and rotuGdity Of his forms and their remarkaOe lore
Shortening before perfectly rendered, place
among the greatest of painters. The Venetian
School COMPRISING in sequence Giorglone, Tltan I'm
tore and Paul VerOnesc are distinguished Tor thelr
manipulation and excellence in coorlne For the most
mastery OF Color In the extraordinary eHects
capable being produced by this means IN art; IN lts
richness funcss depth and glory for all this combined
with most admirable design must study particularly
the works Titan He the universal master Ia niS
art for whatever subject he undertook whether Of his
tory mythology portrait Landscape. he invariably
manifess equal genius and power There is solemn,
vivid profound sense of and life In his works
winch commands admiration. While delighted with the
health nd beauty of his art there always snmethlDg
still which enkindles revere; and grow medtative
as the mind is led by the sense though unconscious u
the gradatlon, from the sensuous TO the spiritual