thus obtained the varnish which he, or rather all the painters of the world, had so long desired. He made experiments with many other substances, but finally decided that mixing the colours with these oils, gave a degree of firmness to the work which not only secured it against all injury from water when once dried, but also imparted so much life to the colours, that they exhibited a sufficient lustre in themselves without the aid of varnish, and what appeared to him more extraordinary than all besides was, that the colours thus treated were much more easily united and blent than when in tempera.[1] Rejoicing greatly over this invention, as it was reasonable that he should do, Giovanni then commenced a multitude of paintings with which he filled all those parts, to the great delight of all who beheld them as well as with very large gain to himself; his experience increasing from day to day, and his pictures constantly attaining to a higher degree of perfection. No long time had elapsed be fore the fame of Giovanni’s invention spread, not only over all Flanders, but through Italy and many other parts of the world, awakening the utmost desire in all artists to know by what method he gave such perfection to his works. Beholding his paintings, but not knowing in what manner they were produced, they saw themselves compelled to extol and bestow immortal praises on him, at the same time regarding him with a blameless
- ↑ For the much-vexed question of the time when, and the person by whom, painting in oil was first practised, the reader is referred to the many writers who have treated the subject. Among those most easily accessible to the English reader may be mentioned, Eastlake, Materials, &c., and the Ancient Practice of Painting in Oil, translated from various Treatises with copious and valuable notes, by Mrs. Merrifield. Walpole, Anecdotes of Painting, may also be consulted with advantage, and there will be found a decree of Edward III. which Walpole adduces in support of his opinion that oil-painting was practised long before the time of the brothers Hubert and John Van Eyck, to the former of whom many of the disputants on this subject attribute the credit of the discovery. Tambroni, in his preface to Cennini’s Trattato della Pittura, p. 38, does not scruple to call the account given by Vasari, “one of those romances which are incapable of supporting the anvil of the critic.” Lanzi, on the contrary, History of Painting, affirms the truth of our author’s version, as do many other writers: while some attribute the invention to Antonello of Messina himself. The work of Cennino Cennini, admirably translated by Mrs. Merrifield, is of great value. The German reader will find the subject treated, more or less at length, by Waagen, Rumohr, Passavant, and many others.
