Art-Jottings In Art-Studios.

another , ancl this , especially when the painting is intended as a wall-decoration—for a church or assembly-room , for instance—is a point not to be lightly passed over . 2 . Another property , and that a valuable—Ave should rather say an invaluable—one , js its durability . In proof of this Ave may adduce the repeated instances of "frescoes " painted , not only on the arcades or the cloisters of churches , Avhich are open to the air on one side at least , but also of those executed even on the fronts of houses , in the open air ,

where they are naturally entirely exposed to the influences of sun and wet , and indeecl every vicissitude of atmospheric agency . 3 . A quality , the beauty of AA'hich it may perhaps require an artistic instinct to estimate at its proper value , the skill and dexterity— "dash" would he a good term to describe AA'hat we mean—requisite for the execution of this art ; no retouching being admissible , nor any of those appliances available , such as g lazing OA'er painting , Avhich

can be made use of in oil-painting . All these circumstances compel the " fresco " painter to confine his energy particularly to the subject ancl design rather than to such mechanical qualities as are so eagerly sought by the artist AVIIO Avorks in oil . The advocates of the superiority of " fresco" over all other methods of muraldecoration point to the exhibition of these qualities in the paintings of Michael Angelo in the Sistine Chapel , of Raphael in the stanze of the Vatican , ancl of Corregio in the cupola of the Cathedral of Parma . But , Avhen all this has been admitted , there is still something to be said on the other side ; for instance : —

1 . That , though a certain degree of clearness , purity , and brightness is the prevailing feature of "fresco , " it is nevertheless deficient in depth and richness of colouring . 2 . That , although the absence of the glossiness of oil in " fresco" work is an undoubted advantage Avhere a mural painting of large size is employed as an architectural decoration , this difficulty can to a great extent be obviated . Witness Delaroche ' s great picture of the Hemicycle in the Beaux Arts in Paris , Avhich , although painted in oil , is so free from the ordinary surface gloss above alluded to that it is often mistaken for a " fresco . "

3 . That , AA'hilst in pure " fresco , " AA'here there has been no " retouching , " there is no doubt that the colours are hut little , if at all , liable to change ; yet that , in ordinary practice , the surface is so fragile that it is easily broken or scratched , and that should such accidents occur , there is no possible way of covering the flaAvs saA'e by " retouching" AA'ith "tempera" colours ; and that , if this be extensively done , the entire nature of the Avork is alteredand it becomes simply a picture in " size" colours .

, The opponents of "fresco" urge in support of these A'ieAvs , the "Madonna de Poliguo , " " Madonna di San Sisto , ' - ' " Sposalozia , " ancl other celebrated " easel-pictures " of Raphael , Avhich are in much better preservation than his "frescoes" in the stanze of the Vatican .

4 . Further , the properties of difficulty in execution and limited range of colourih ' " , said of technical appliances , the ojiponents urge , are entirely of a negative kind . We do not close our eyes to the fact that some painters haA'e maintained that grand composition and good colouring are qualities that will not go hand in hand ; but , on the other hand , in disproof Ave point emphatically to such Avorks as the " Entombment" of Titian , in the Louvre , and the works of Peter Martyr , at Venice . We haA'e already spoken of the difference of opinion amongst competent authorities to

as AA'hether the great Avorks of the ancients AA'ere or AA'ere not truly " frescoes . " This J ) li Ay , as Ai'e haA'e seen , be doubtful as to some ori ginal designs , but cm- OAVU opinion certainl y inclines to the idea that " fresco " -painting Avas , at least in certain cases , actuall y employed . On the Avhole , Ave think , the conclusion may be fairly draAvn—an opinion that has been for a long time pretty generally adopted—that where painting is to be combined Avith architecture , "fresco" is the style that most readily assimilates itself to it . And Jet , on the other hand , Ave cannot deny that the soundness of many of the views formerl y held as to the superior advantages . of " fresco " -painting are successfully