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from any kind of labour. The purposes of the day are unfinished—every thing is contingent. Under such circumstances the character or subject of pictures is to be adapted to the mind—not the mind to the subject. The open face of nature by sea and land may here enliven the walls, and agree with the excursive feelings of the hour. The chase and its incidents may here triumph. The English pastoral is here strictly in its place. Solemn themes, solemn effects, should not be admitted; while all that responds to buoyancy of spirit would, on the contrary, be appropriate. It need not be gravely objected, that accidental or even average states of feeling may be little in unison with the impressions which the arts profess to give; for the same objection is frequently applicable to all of the accompaniments of civilized life, nay, to the beauties of nature, which so often appeal even to cultivated human sympathies in vain. The occasional contradiction is unavoidable, where, of two conditions, one is permanent, the other mutable.
Corridors on the ground-floor, or even upstairs in houses where pictures do not abound, may be fitly decorated with arabesques. The same kind of ornament might be applied to garden pavilions, and, in the present instance, even to your portico next the lake, if there are no statues there, but not to conservatories, where the conventional forms and tints of art would contend injudiciously with nature. In these decorations it is absolutely necessary to set out with an architectural scheme, and subdivide the spaces with some attention to congruity and subordination. In the details, pleasing masses and forms are essential, because here nothing can be concealed; there is, strictly speaking, no chiaro-scuro, no perspective: form and colour are the chief means. The possibility of approaching and even coming in contact with the painted wall, suggests the necessity of a small scale in the objects, and of precision and delicacy of outline; yet, from the circumstance of the forms and hues being relieved on a light ground, they are at the same time effective at a considerable distance.[1] Stucco ornaments in very low relief, mixed with the painting, are admissible, (as they can hardly be said to come under the head of sculpture,) but they require a strong light to display them.
I cannot recommend frescos for the sitting rooms of dwelling houses.
- ↑ The best examples of decorations of this kind are now accessible to all, in a recently published work by Thurmer and Gutensohn, containing the arabesques of the Vatican, the Farnesina, the Villa Lanti, and the Villa Madama: edited by Ludwig Gruner, to be had of Mr. Murray, Albemarle Street: with this work may be classed the publications of Zahn, on the ornamental inventions of Giulio Romano at Mantua, and on the decorations of Pompeii.
