Bulletin of the Rhode Island School of Design Issued Quarterly Vol. Ill JULY, 1915 No. 3 MARBLE CIBORIUM Antonello Gagini, Sicily, 1478-1536 AN ITALIAN and lesser artists had visions of beauty for TABERNACLE-FRONT. which they frequently found expression, and it should be noted that they by no O really distinctive movement in art means lacked patronage. has ever assumed prominence ex- This was equally true in Sicily, where the N cept as it afforded a means of ex- new expression of ideas received was with pression at the same time individual and universal favor by the enthusiastic spirit racial. The measure of its expression of the race. Curiously enough, although both in quality and quantity depends to a much of very high merit was produced in large degree upon the economic conditions Sicily, general study has favored Renais- of the country, and its intellectual activity. sance expression in Northern and Central Given the conditions favorable to encour- Italy. Despite this comparative lack of agement, either active or dormant, there interest in Sicilian art, even a slight study have been produced acknowledged masters of its manifestations brings us to the in art whose influence has spread to the Gagini family, which for so long a time most remote corners of the country, and fre- molded artistic expression in the island. quently to other lands. We may criticise The father, Domenico, was born in Bis- their execution in detail, but we yield all sone, near Lake Lugano, in the early fif- praise to their mastery of technic, their teenth century, but we find him settled in creative genius and their contributions to Palermo in 1463. He brought with him the world of beauty. Both the greater the spirit of the North Italian school. His 2 Bulletin of the Rhode Island School of Design son, Antonello, is of especial interest as THE SURFACING OF PICTURES. the most productive Sicilian artist of his time, and the probable sculptor of the HE surfacing of pictures is a subject unusual marble tabernacle-front which is which is often treated with the in the galleries of the School of Design. T greatest indifference by the artists He was born in Palermo in 1478, worked of the present day, and as a result of this at Messina from 1498 to 1508, decorated fact a system has come into general use the choir of the cathedral at Palermo in which is resulting in much damage to fine 1510, and was very active elsewhere in works of art. It is difficult to understand Sicily, especially at Nicosia. Other work how the painters could have become influenced by him is found at Marsala, so careless of the preservation of their Alcamo, Salemi, Trapani and Catania. In product, and why this important subject addition to his work in sculpture, he had should have received so little attention. many pupils, who spread his teaching Paintings which in themselves possess through the sixteenth century. Antonello enough merit to be preserved for future 1 died in 1536. The relief illustrated shows years will inevitably be varnished, but, if a tabernacle-front distinguished by high an improper varnish has been used, the artistic feeling, religious spirit and decora- chances are very great that the picture is tive value. The careful grouping of the ruined. As an illustration, a painting by angels on either side may be compared with Fromentin might be mentioned, which is Antonello’s shrine at Nicosia or the angel at present receiving attention from the in the Annunciation group in Monte San writer this originally was of cool, silvery ; Guiliano. It is also characteristic in its tone, quite high in key. At present, where treatment of perspective both in composi- the layers of lac, or retouching varnish, tion and detailed elements. Similar treat- have not been lifted, the picture is a deep ment is seen in certain parts of the relief sienna color, due entirely to successive showing the Miracle of the Apostle Philip coatings of hard copal varnish and lac. in the Palermo Cathedral. The genius of Any attempt to hurry the work of clear- the artist, so far as our sculpture is con- ing this discoloration would result in ruin cerned, perhaps finds its highest expression to the painting, which was finished by the in the relief of the lunette, a detailed view of artist with tiny brush strokes of thin wash. which is here shown. The careful group- In other words, commercial handling ing of the figures, the subtle composition, would mean the disappearance of this and the emphasis on the central group may picture as a Fromentin. be noted. A hundred years ago painters busied Discussion of this relief should also in- themselves to a considerable extent with clude a word on its religious spirit. 2 Ales- the preparation of their materials, and the sandro Della Seta has called attention to consequent preservation of their pictures. the danger of “ accentuation of the value Accounts of the lives of Stuart and Sully, of form ” to the detriment of idealization. and their own writings, bear evidence of This is indeed true in later art, but in this this, and their pictures prove their practice work of Gagini’s we find rather a sympa- to be thoroughly workmanlike and intelli- thetic appreciation of the possibilities of gent. The modern painter uses material religious subjects, and an expression of furnished him by the dealer in art goods. that kinship of spirit which breathes A dealer subject to business competition throughout the Italian Renaissance at its is much more interested in the profits best. l. e. r. of his business than in the purity of his product so long as it is not questioned by 1 For further details the reader is referred to Gioac- the purchaser. chino di Marzo, I Gagini e la Scultura in Sicilia nei Recently the writer took occasion to secoli XV e XVI, Palermd, 1880-1S83. 2 “ Religion and Art,” Alessandro Della Seta, p. 383. visit the art material stores to find what ; Bulletin of the Rhode Island School of Design 3 LUNETTE Detail of Ciborium by A. Gagini was sold for picture varnish. He was ad- fact that this material will dry hard in a vised to use retouching varnish, and was few minutes, and is easily dulled in case told that “ everybody ” was using it. Re- the picture owner wishes a mat surface. touching varnish, so called, is nothing but A proper surfacing material, on the other lac, or purified shellac, combined in various hand, takes about three days to dry, and ways. This material appeals strongly to considerable skill and experience are the American temperament. It is thin, needed in its use. amber-colored, has a pleasing smell, and The picture-owner should remember can be applied easily. It dries very that varnish is not permanent, although quickly, and the result is secured in a short it must be used to keep the action of the time. It is a good working rule, worthy air from the picture. The time will come of constant repetition, that a quick-drying when the varnish must be removed, for varnish is not beneficial to pictures. Lac it undergoes change. Then if a hard gum dries hard, becoming much harder than has been used, the slightest carelessness, the paint beneath it, and in time turns very ignorance or hurry may ruin all that is dark and hot in color, to the end that a worth while in the picture. Therefore the picture loses all its cool and silvery tones only safe thing to use is a soft-gum var- in fact, turns a rather deep ecru shade if nish, which is easily removable with perfect much lac is present on the surface. When safety to the painting. Soft gum has it becomes necessary for the picture to be been generally used in England, mastic cleaned and this dark-stained surface re- being the favorite. The excellent preser- moved, the greatest skill is needed to pre- vation of the English portraits may be vent ruin, for the varnish surface is much attributed to this custom. Sully, who had more resistant than the paint, and if sol- instruction along the lines of the English vents are used, as is the usual custom, the painters, wrote — “ A hard varnish, such as delicate finishing strokes of the picture copal, is not suitable for a portrait. Mastic will be obliterated before the lac is lifted. varnish and gum-damar varnish are good. Again, the lac resists moisture badly and I prefer mastic varnish.” The only draw- turns white if exposed to damp air. In back to mastic is a tendency to become such cases the picture is painted over in cloudy especially in the spring and fall, these places as the easiest way out of the when our heating systems are started or trouble. Against these drawbacks is the discontinued. This “ bloom ” is absolutely 4 Bulletin of the Rhode Island School of Design harmless, and will wipe off with a silk have received their training in America ; cloth dampened with pure linseed oil and the one develops a vigorous personality, turpentine or a little varnish, very much impatient of restraint, daring in his technic thinned with turpentine. h. e. t. and brilliant in execution while the other, ; equally personal in his way, finds instinc- RECENT ACQUISITIONS FROM tive delight in tonal harmony, the poetical side of nature and a feeling METCALF FUND. strong for THE JESSE decoration. OME of the most valuable works of It is probable that George W. Bellows art in American museums have been has in part sought the strong and daring S secured through the special funds because of his being one of America’s sometimes placed at their disposal to be young painters.