The introduction of the use of oil formed a great epoch .n the history of the art, from its peculiar adaptation to the delicate blending of colours—the indestructibility of its surface when dry—the vivacity of colour, proof against the influence of the annostphere—the facility to the artist of retouching and perfecting his work—the power of lay ing it aside and resuming it at pleasure—and, above all, the boldness of execution which must be inspired by the confidence of being able to rectify and change at pleasure, without being appalled by the fearful uncertainty of every bold touch destroying the work, which the painter in fres co must be exposed to. There is a great advantage in the power of heightening the eflect at pleasure, where the very thickness of repeated coats, by producing elevation, adds to the prominence of sharp lights ; %%hereas in freso, a deadening effect ensues by reason of the absorption in drying, accompanied with a change of tint. The viscous nature of oil enables the colours to approach each other, without the uncontrollable blending of water colours, which is not in every case desirable : The artist is able, as he proceeds, to judge of the effect, the fresco painter must wait its drying ; it is capable of greater transparency, and more perfect pellucidness of air and water. Oil paint ing does undoubtedly acquire a sombre tone in the pro gress of time ; but in this much depends on the mode of painting, as we possess some very old works of the great masters, seemingly as fresh as the day they were painted. It is a circumstance much to be regretted, that these early painters, who, according to the mysterious habits of their day, had each some secret mode of preparing colours, or concealed process in their art, were so cautious of com municating their knowledge ; that we are now entirely ignorant of what occasions the more perfect preservation of the works of some masters than of others. The prepa ration of the ground colour was particularly a subject of mystery, and in this there were great varieties, some using different preparations of white, others red or dark, and, in fact, every variety of colour.
But fresco painting was not without its advantages over oil ; for it looks equally well in all lights: whereas the shine of oil requires a particular light, and to be seen from a particular spot. It is more durable than oil, in so far as it incorporates with the wet plaster upon which it is ap plied, becoming as permanent as the wall itself; for the plaster, if properly prepared, acquires the hardness of 'stone.
It is the most ancient mode of painting at present in use, as it was generally followed by the Greeks, and even in Egypt there are instances of it. The colours are chiefly calcined, and simply mixed with water ; but it is inconve nient from the change in drying, and to a certain extent imperfect, as there are some colours which the plaster rejects. Strictly speaking, it is but the servile operation of copying, as the preparatory cartoon is in fact the paint ing ; neither can the whole be seen at once, or the effect judged of; hut each particular portion, according to the extent of day's work, must be finished up at once, and added to the preceding portion with little power of blending. The lights cannot he raised, but the shadows, when they begin to dry, may, to a certain degree. be enforced. The cartoon must be painted to the full size, through which the subject is pricked on the wall ; sometimes the cartoons are fully coloured, like those of Raphael now in England, or merely traced, when they are usually accompanied by a small oil painting. Fresco loses its effect if seen very near, which is another inconvenience for the painter. It is
only adapted for spacious apartments, and as an accom paniment to architecture ; but it is more susceptible of general effect than any style of painting. It must be well done, and the entire effect seized in a moment ; for fresco admits of no mediocrity. To succeed, a painter must be gifted with the qualities of an expert general, viz. promp titude, decision, and address in executing. The finest works of Raphael, Michael Angelo, and other great mas ters, are in fresco, and how brilliant is the display of gen eralship in some of them! Whether it was owing to Van Eyck's introduction of the use of oil or not, the study of colouring became the prin cipal bent of the Flemish school ; and, indeed, they them selves maintain, that the Venetian school adopted the peculiarity of their taste from the Flemish artists. In consequence of Van Eyck's having communicated his secret to Antonio de Messina, he returned to practise in Venice, where he endeavoured to conceal his art, in order to monopolize the profits and fame arising from it. It is narrated of the Venetian painter, John Bellin, that, being unable to discover the cause of the uncommon brilliancy of this stranger's mode of painting, he disguised himself in the splendid attire of a Venetian nobleman, and pre sented himself to have his picture done : the unsuspicious painter being thus thrown off his guard, enabled Benin, in the course of the proceeding, to discover .his secret. Oil painting soon crept into general practice at Venice, and with it, according to some authors, the Flemish taste for colouring. The style, however, took a grander and more magnificent flight at Venice, while, with the excep tion of Rubens, the Flemish painters rather emulated the minute and close imitation of nature. Like their neigh bours in Holland and Germany, it is nature, however homely, that is the ruling idea and ultimate object of their art, with very little attempt to ennoble the subject by the aid of imagination. In knowledge of colours,and extreme address in their use, in brilliancy, delicate blending, dexterity, and fineness of touch, many of the Flemish masters seem nearly to have reached the limits of perfec tion.
The principal works extant of Van Eyck are to be seen at Ghent, and are more remarkable for labour and care than beauty. His brother and sisters, as well as his father, were painters. Of the same class was Lucas van Leyden, whose engravings arc so much sought after and so high priced, and also his friend Mabuse, who was a su perior painter, and was the means of introducing a freer and better manner, though still exceedingly stiff. He was a drunken spendthrift ; and, having upon one occasion pawned his coat, was obliged to appear before Charles the Fifth in a paper coat he had painted for himself, to the great entertainment of the Emperor. There are several pictures of this master in England, where he resided some time. The names of the principal painters that preceded Rubens, who may be looked upon as the prince of Flemish painters, and the founder of the distinctive character of the school, were Porbus, Brill, Stecnwick, Van Voss, Stra dau, Spranger, Savery, Breughil, of whom there were several painters of the same name. Jean Miel, Seegers, Snyders, the painter of boar hunts, animals, and flowers; his compositions are full of skill and vigour in handling the particular subject he had selected. Craycr was a pro lific painter of altar-pieces, and considered one of the best painters of the Flemish school, for chasteness of composi tion, and admirable blending of his colours. He died in the year 1669. His contemporary Jordaens was likewise esteemed.