During an examination of those grand old pictures, two questions naturally arise in the mind: What is conventionality in art? and--In whose works do we see it? The first question is easily answered by stating that it is a mode of treating pictorial subjects by established rule or custom, so as to obtain certain pictorial effects without taking into consideration whether such effects can be produced by natural combinations or not. In answer to the second question, it may be boldly stated that there is very little of it to be seen in the works of the best masters; and one cannot help exclaiming, "What close imitators of nature those grand old masters were!" In their works we never see that photographic eye-sore which may be called a binographic combination of two conditions of perspective, or the whereabouts of two horizons in the same picture.
The old masters were evidently content with natural combinations and effects for their backgrounds, and relied on the rendering of natural truths more than conventional falsehoods for the strength and beauty of their productions. Perhaps the simplest mode of illustrating this would be to proceed to a kind of photographic analysis of the pictures of the old masters, and see how far the study of their works will enable the photographer to determine what he should employ and what he should reject as pictorial backgrounds in the practice of photography. As a photographer, then--for it is the photographic application of art we have to consider--I will proceed to give my notes on pictures in the National Gallery, showing the importance of having the horizontal line in its proper relation to the sitter or figure.
Perhaps the most beautiful example is the fine picture by Annibale Carracci of "Christ appearing to Peter." This admirable work of art as nearly as possible contains the proportions of a carte-de-visite or whole-plate picture enlarged, and is well worthy the careful attention and study of every photographer; not only for its proportions and the amount of landscape background introduced, showing the proper position of the horizon and the small amount of sky visible, but it is a wonderful example of light and shade, foreshortening, variety and contrast of expression, purity of colour, simplicity of design, and truthfulness to nature. Neither of the figures lose any of their force or dignity, although the horizontal line is as high as their heads, and the whole of the space between is filled in with the scene around them. In its linear perspective it is quite in keeping with the figures, and the scenery is in harmonious subjection, controlled and subdued by aerial perspective.