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WEEKLY EVENING MEETING,

Friday, January 30, 1863.

SIR HENRY HOLLAND, Bart. M.D. D.C.L. F.R.S. Vice-President, in the Chair.

HIS EMINENCE CARDINAL WISEMAN

On the Points of Contact between Science and Art.

66

In his preliminary observations, the Cardinal stated that, in speaking of Science and Art, he wished to extend the meaning of one of these words to the utmost, and to restrict that of the other. By Science he wished to understand whatever knowledge has come to man as the result of his investigations by thought, calculation, and experiment; by Art, he meant not the arts of life-the practical arts-but the Fine Arts, and even these restricted to the Arts of Design. As an example of their union, he referred to our three great museums, where the objects of science are almost always to be found blended or associated with objects of art. The great artist, Leonardo da Vinci, is a " representative man" of this union; but though so well known as a consummate painter, he is comparatively little acknowledged as a man of science. Yet he finds his place in the history and philosophy of the inductive sciences as a practical reformer, and has left behind thirteen volumes of scientific sketches connected with mechanics and hydraulics. It has been said also of the late Prince Consort, that he never saw Art without Science, and never looked at Science without seeing Art; and that he seized every opportunity of inculcating the necessity of cultivating the two harmoniously and inseparably, yet also independently.

The Arts of Design treated of were Painting, Sculpture, and Architecture.

PAINTING.-The most obvious point of contact between painting and practical science is Perspective, which signifies the art of representing on a flat surface objects which are supposed to be on different planes, or at varying distances, so as to give them, by the gradation of proportion and colour, the appearance to the eye which they would have if they were real substances. This science, by no means old, is At the Revival, its principles were observed and of uncertain origin. acted upon by the great painters by intuition; but it was long before the rules of perspective can be said to have pervaded the whole art. Attention to scientific and artistic perspective began simultaneously in Belgium and Italy,-in the schools of Van Eyck, in Belgium, and of

Giotto in Italy. In the works of the Van Eycks-(Hubert died in 1426 and John in 1446)-great improvements appear in lineal and aerial perspective, which were much advanced also by the Giotteschi, of Florence, &c. But the true history of Scientific Perspective begins with Michelangelo, in whose works the anticipations of art are verified by science, and reduced to unvarying rule.* Leonardo da Vinci (who died in 1519), and Albert Dürer (who died in 1528), a mathematician as well as painter, were also worthy agents in this great advancement of art. It was not, however, till 1608 that Guido Ubaldo published the first satisfactory treatise on Perspective. In 1642, F. Dubreuil edited his 'Prospectiva Practica,' well known as 'The Jesuit's Perspective'; and, finally, in 1731 the mathematical theory of perspective was conclusively demonstrated by Brook Taylor. These certain principles gradually became so fixed, that it was impossible afterwards to allow deviation from them. The theorems were converted into practical rules, which are now accepted for all useful purposes, without further proof; and perspective was reduced to scientific principles, which are now popularized and adopted as an essential part of artistic education.

As means of proceeding still further in educating the public eye and mind, attention was called to the greatly increased facilities which the railway, a creation of science, has afforded us for studying the beautiful in nature, and of gratifying our love of landscape in our own country and abroad.

In regard to Colour, there is, most certainly, a want of more contact between Science and Art. Some of the colours on the mural paintings of the ancients are still fresh, after an interval of eighteen hundred years; and the frescoes of the first periods of modern art, though much decayed, yet promise to remain at least distinguishable for a very much longer period. Surely, with the accurate knowledge which chemistry gives us, we ought to obtain effects not inferior to those produced by the older painters almost by accident. Science must come to the aid of art, and answer the question-" Is there any atmospherical, or other chemical action, in this country, which prevents our carrying out in it such public works of art as exist in other countries?"-In regard to Mosaics, it was stated, that in the great Vatican studio the progression of new colours and shades are entirely in the hands of a chemist, who commands and directs the laboratories and finances requisite for the work. In the catalogue,' the graduated specimens of colours number upwards of twenty thousand.

In SCULPTURE, one point of contact with science is in pure Mathematics. From the time of Michelangelo, though undoubtedly the feeling is much more ancient, there has been an expression of the thought, that the human figure is perfect in its proportions, and that those proportions must have a law. It has been since shown that the

*For details on this subject, see De Morgan's "Notes on Perspective," in the Athenæum for October and November, 1861.

whole of this figure is ruled by lines, the angles of which are harmonic --so musical that they may be represented by tonic mediant and dominant; and that the curves which circumscribe the subdivisions possess this quality no less than the angles. It is interesting to find that the curve which dominates through the structure of man is the curve which rules the heavens-the ellipse.*

A necessary connection exists between Sculpture (and no less Painting) and the science of Anatomy. In the ancient Grecian marbles we perceive a striking contrast: we see heads of magnificent placidity, and of grandeur of organisation; heads of surpassing intellectuality united to bodies apparently of exaggerated muscularity and salient framework. There were clearly two types familiar to the Grecian artist-the men of thought, the philosopher, poet, and orator; and the athletes, whose bodies were subjected to gymnastic training. No doubt the conflicts in the arena, in which all the muscles of the body were brought into various and violent actions, were frequently witnessed and noted by the keen eye of the ancient sculptor, who had not the opportunity that artists now enjoy, of studying calmly the same muscles upon the dissected corpse, or even upon casts taken from it. Galen himself was obliged to study the ape, in order to come to his approximating knowledge of human anatomy. The Greek or Roman arrived at the knowledge of the interior construction of the figure, by what he saw without; the modern may learn directly what is concealed by the outward integuments and represent its external action.

The modern science of Ethnography, which classifies the different types of races and nations, and at the same time pays attention to the habits, manners, and customs of different countries, is also a most desirable adjunct to both branches of representative art. Great poets have shown themselves to be not above studying common subjects, or the mechanical operations of practical science, when they had to introduce them into their verses (e.g. Schiller, in the "Song of the Bell"); so our conclusion must be, that a great artist should despise no branch of knowledge, but should endeavour to acquire every variety of it. "Ut pictura poesis-as painting so is poetry," says Horace, and adds

"Ego nec studium sine divite vena,

Nec rude quid possit video ingenium; alterius sic
Altera poscit opem res, et conjurat amice." †

Of ARCHITECTURE, as a fine art, we may repeat what has been said of the human figure; the proportions and parts of its perfect productions are no less tonic or musical: lines and angles-there being here no curves-are reducible to the same harmonic scale. This

See The Principles of Beauty.' By John A. Symonds, M.D. 1857.
"I see not what, without true genius, study,

Nor genius without study, can effect.

Each needs each; both, when hand in hand, will thrive."

Art of Poetry, 409.

has been shown to be the case in the Parthenon, the grandest of all classical edifices; and also in Lincoln and Salisbury cathedrals.— Science, however, comes directly into contact with Architecture in the Constructive element-in the value and fitness of the materials employed in building. The necessity for this is but too evident in the disintegration of the stone of which the new Houses of Parliament are built. A commission, comprising architects, chemists, and geologists, was formed to select the best stone for the building; but the recommendation of the men of science was not carried out; and in 1861, it was said before a committee-"We" (the builders) "did not look at the stone with the eyes of chemists; we looked at it as builders." The committee, therefore, recommended that a series of chemical experiments (with the view of arresting the decay) should be conducted under chemical supervision. 2. Science comes also into contact with Architecture in the adjustment of weight and support — the balancing of the parts of a building. In the first stages of architecture, we are struck with the massiveness of construction-in the old Grecian, the Roman, the Etruscan, and in the Norman. This ponderous solidity was probably due to timidity and ignorance. As science advanced, architecture became slimmer. In the sixteenth century, the architects considerably lightened their style; altering the old Norman arch into the pointed, and the round massive piers into clustered columns; thus cutting out masses of sustaining material without apprehension of insecurity.-A striking example of the most salutary, because uncontrolled intervention of science in a matter relating to architecture occurred in the history of St. Peter's, at Rome. Although the architect, Michelangelo, had taken the greatest precaution for the security of the dome, yet in 1681 numerous cracks appeared in various directions through the cupola. Marble dovetails placed across the crack broke with alarming rapidity, and it was feared that in a few years the whole dome might fall in. Various remedies were suggested by architects; but the Pope Benedict XIV. wisely observed that this was not the business of Art but of Science. A commission of three eminent mathematicians (Boscovich, Le Sueur, and Jacquier) was appointed to examine the case. In 1742 they issued their report, showing by their calculations, that the entire dome with its lantern came to the weight of 55,248 tons, and that there was a balance of 1674 tons on the side of pressure against support; concluding with the remark, "that irreparable ruin must be apprehended, unless a timely and efficient remedy was applied." The remedy they proposed was entirely scientific-to put six more solid iron girders round the huge periphery of 420 feet. No time was lost. In 1743 two girders were braced round the drum, and in 1744 three more were added. We have here a notable instance of Science coming to the rescue of Art in one of its most painful crises. The proposed cure fully answered; and now, after 120 years, no sign has been given of subsequent damage.

In the concluding remarks, the Cardinal made reference to the

advantages Science may derive from Art; an example of which occurs in the assistance which astronomy has obtained from photographyportraits of the sun and moon, and other celestial bodies, having been thus taken by Mr. Warren De la Rue.

GENERAL MONTHLY MEETING,

Monday, February 2, 1863.

WILLIAM POLE, Esq. M.A. F.R.S. Treasurer and Vice-President, in the Chair.

The following letter from Lieut.-General Knollys to his Grace the President was read:

“MY LORD Duke,

"SANDRINGHAM, NORFOLK,

"23rd Jan. 1863.

"I have the honour to acknowledge the receipt of your Grace's letter of the 22nd inst. transmitting, as President of the Royal Institution, a Resolution passed unanimously by that body, to the effect that His Royal Highness the Prince of Wales was elected an Honorary Member and Vice-Patron of the Royal Institution of Great Britain.

"His Royal Highness has directed me to request your Grace to express to the Members of the Royal Institution the high gratification He experienced at receiving this announcement; and in conveying his thanks, His Royal Highness desires to assure both your Grace and them of the pride He shall feel in occupying not only so honourable a post, but one that has been so distinguished by its connection with his lamented Father.

"I have the honour to be, my Lord Duke,
"Your most obedient servant,

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Sir William Augustus Fraser, Bart.
General Charles H. Hamilton, C.B. and
Peter Vanderbyl, Esq.

were elected Members of the Royal Institution.

Michael Smith, Esq.

was admitted a Member of the Royal Institution.

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