The art of painting according to the theory and practise of the best Italian, French, and Germane masters. Treating of the antiquity of painting. The reputation it always had. The characters of several masters. Proportion. Action and passion. The effects of light. Perspective. Draught. Colouring. Ordonnance. Far more compleat and compendious then hath yet been publisht by any, antient or modern. The second edition. By M.S. gent.

CAP. XXX. (Book 30)

Precepts in Colouring and Glasing.

WHite represents Light and gives the Heightning; Black, Darkness, and Obscures and effaces the Object, likewise

sets of the light parts and makes them appear by their appositi∣on, and both serve one another to loosen the Object and di∣stinguish the parts of the Group.

In Carnations, we must avoid the Affectation of too many Clear Red Colours, which more resemble the Skin when Flead of, then the true Natural Skin.

Nor must we affect the diversity of Sparkling and Glowing Colours, as the Bright of Diaphanous Bodys, which represent re∣flections of the variety of Neighbouring Colours; always re∣membring, that mans Skin how Beautiful soever, dwells in a delicate down-Colour.

We must observe in the Contrast, or the Opposition which In∣tervenes in the Union of Colours; that by a sweet Interruption it may rayse up its Briskness, without it a fading Disagreeable∣ness ensues.

In Landskip we must observe, that the Air being univer∣sally overspread, carrys something of Light with it, and admits nothing Darke in places at distance and approaching the Ho∣rizon.

That which way soever we carry the Wind, the Clouds, Trees and all Things Subject to its Motion, tend the same way.

That in Clouds for Storms, &c. they be Painted in manner of a Group, and not to much Scattering by Breakes, which will disturb the Harmony of the Picture.

We must carefully observe all the Squars, as on the Fore∣head, Chin, top of the Nose, between the Neck and Breasts, &c.

In great works we must lay the Colours on Full, that we may Empast and Incorporate them sweetly, and that will make them to hold Firm and be lasting.

We must have regard to the expressions of Matters and Stuffs, whither they be Polisht or Rough, Shining or Dull, Diaphanous or Solid, Soft or Hard, &c.

Colours must be so laid together, that they may be all sweet∣ly united under the Briskness of a principall one, that it may participate of the Light which is chief over all the rest in the Picture; and that all the Colours be Connected together by an agreeable Vnion, and likewise so dispos'd as they may partake of each other, by the Communication of the Light and help of Reflection.

We must not only avoid all Garrish and Gandy Colouring (the Effects of a poor Judgment) but likewise a Briskness in the Meaner Parts which may any way hurt the Eye of the Picture.

We must observe to lay the Colours very strong at first, be∣cause it is easy to weaken what we would put back; but more difficult to give a strength, where it is weakly put in.

Touches must be Bold, by the conduct of a free and steady Pencel, with all possible Freedom: that thereby, they may Ani∣mate the work with Life and Spirit, and may appear most Fi∣nish'd at a Proportionable distance.

But in works finish'd to be seen near at Hand, you must apply each Colour properly in its place, sweetning with a light Hand all their Extremitys, without Tormenting or Fretting them, that their Purity may be preserv'd.

In Drapery we must consider, that we have a perfect liber∣ty in choosing the most proper Colours to produce good effects accordingly we must shew our Judgement therein.

When a Picture is Dead Coloured, we must avoid the smeer∣ing it to much with Oyle, for the more speedy and easy Finish∣ing thereon, which soon causeth the work to Change.

Take care the Priming of the Cloath or Pannel be through dry, before you Paint thereon; or the foul Priming Colours in∣corporating with your work will also cause it to Change; as likewise that a Dead Colour be dry for the same Reason. Where you use Turpentine Oyle take care the Colour under be hard dry, for it is of so peircing a quality, it will raise the Colours.

We must have regard to the scituation of Colours, where we must observe to put before the Picture, those which are Naturally the stronger and of the greatest Purity; that by the Force of their Briskness, we may keep back the Force of them which are Compounded, and which must appear at a distance; all Compositions diminishing the Force which is in the Purity of Colours.

In Glazing, the Colours under must be layd smooth and strong, by reason it takes from their strength, we must also have regard to the Body of the Colour we Glaze with, and accordingly do it oftner or fewer times over.

Note that the same Ground by the diversity of Glazing Colours, produceth divers Colours in Drapery; likewise the Glazing Colours by the diversity of Grounds.

For a Scarlet, your Drapery must be in the Heights, Ver∣milion, and brought down first with Indian Red, then with Bone-Black; when Finish'd, Glaze it twice or thrice thin, ac∣cording to the Body of your Lake: if it requires more strength Touch up the Lights with Vermilion, and Glaze it thin or'e a∣gain, then in the extremest Lights of the Sleeves, Scarf &c. of the Drapery, touch it up with Vermilion and White, always remembring, that you Glaze not the Heightnings where there is any White, by reason it will render it Purpleish and take from the Beauty.

For a Crimson, lay the Ground with White, Blew Black, and Indigo in the deep, Glaze it with Lake. For a Sea-Green, lay the Ground as before and Glaze with distill'd Verdigreece. A Grass-Green, in the Heights Masticot, then Yellow Oker, Um∣ber and Bone-Black, Glaze with Verdigreece. For Olive Colour-White, Blew Black and Bone Black, Glaze with Brown Pinck. For a Blew with Smalt, the Ground as before, Glaze seven or eight times, very thin with a very steady, but free hand. Glaze with Ultramarine on the same Ground. For the most Beautifull Red, lay the Ground as in Grass green, but in the Finishing use Pinks instead of Yellow Oker and Umber, as likewise in Finishing the Grass Green Glaze the Red with Carmine. You must Glaze with Nut Oyle & Vernish mix'd, in the Darkes you may use Dryiny Oyle.

And lastly you must take care in the Colouring of the Har∣mony which makes the variety of Colours agree, supplying the Weakness of some by the Strength of others, to sustain them, as by a Consonance well manag'd, where they must neglect on purpose certain places, to serve for the Basis and Repose of the Sight; and to raise up those which by their Briskness keep up∣most. And likewise of the Degradation, where the more ease∣ly to Proportion the Degree of Colours that fly back, we must reserve some of the same kinde and entire purity, and then to compare them which ought to be a far off, according to the Perspective Lines, to justify the Diminution; observing the Qua∣lity of the Air, which being charg'd with Vapours, duls them more then when it is Serene.

These are the most General and Principal Rules I could recollect, but the Practise will insencibly iuforme your Judg∣ment with infinite lesser Observations; which with diligent study, and a Mind adapted to so Ingenious a Diversion, will procure you the Happy Fruition of your desired End therein.