will lose its beauty, if it be not varnished immediately. It not only
fades, but, if washed with a sponge and pure water only, it will detach
from the ground upon which it is painted, particularly in damp weather;
because verdegris is produced by the strength of salts, which easily
dissolve in rainy weather, but still more if washed with a wet sponge.
/Chap. CCXXIX./--_How to increase the Beauty of Verdegris._
/If/ you mix with the Verdegris some Caballine Aloe, it will add to it
a great degree of beauty. It would acquire still more from Saffron, if
it did not fade. The quality and goodness of this Aloe will be proved
by dissolving it in warm Brandy. Supposing the Verdegris has already
been used, and the part finished, you may then glaze it thinly with
this dissolved Aloe, and it will produce a very fine colour. This Aloe
may be ground also in oil by itself, or with the Verdegris, or any
other colour, at pleasure.
/Chap. CCXXX./--_How to paint a Picture that will last almost for ever._
/After/ you have made a drawing of your intended picture, prepare a
good and thick priming with pitch and brickdust well pounded; after
which give it a second coat of white lead and Naples yellow; then,
having traced your drawing upon it, and painted your picture, varnish
it with clear and thick old oil, and stick it to a flat glass, or
crystal, with a clear varnish. Another method, which may be better,
is, instead of the priming of pitch and brickdust, take a flat tile
well vitrified, then apply the coat of white and Naples yellow, and all
the rest as before. But before the glass is applied to it, the painting
must be perfectly dried in a stove, and varnished with nut oil and
amber, or else with purified nut oil alone, thickened in the sun[53].
/Chap. CCXXXI./--_The Mode of painting on Canvass, or Linen Cloth_[54].
/Stretch/ your canvass upon a frame, then give it a coat of weak size,
let it dry, and draw your outlines upon it. Paint the flesh colours
first; and while it is still fresh or moist, paint also the shadows,
well softened and blended together. The flesh colour may be made with
white, lake, and Naples yellow. The shades with black, umber, and
a little lake; you may, if you please, use black chalk. After you
have softened this first coat, or dead colour, and let it dry, you
may retouch over it with lake and other colours, and gum water that
has been a long while made and kept liquid, because in that state it
becomes better, and does not leave any gloss. Again, to make the shades
darker, take the lake and gum as above, and ink[55]; and with this you
may shade or glaze many colours, because it is transparent; such as
azure, lake, and several others. As for the lights, you may retouch
or glaze them slightly with gum water and pure lake, particularly
vermilion.
/Chap. CCXXXII./--_Of lively and beautiful Colours._
/For/ those colours which you mean should appear beautiful, prepare a
ground of pure white. This is meant only for transparent colours: as
for those that have a body, and are opake, it matters not what ground
they have, and a white one is of no use. This is exemplified by painted
glasses; when placed between the eye and clear air, they exhibit most
excellent and beautiful colours, which is not the case, when they have
thick air, or some opake body behind them.
/Chap. CCXXXIII./--_Of transparent Colours._
/When/ a transparent colour is laid upon another of a different
nature, it produces a mixed colour, different from either of the
simple ones which compose it. This is observed in the smoke coming
out of a chimney, which, when passing before the black soot, appears
blueish, but as it ascends against the blue of the sky, it changes its
appearance into a reddish brown. So the colour lake laid on blue will
turn it to a violet colour; yellow upon blue turns to green; saffron
upon white becomes yellow; white scumbled upon a dark ground appears
blue, and is more or less beautiful, as the white and the ground are
more or less pure.
/Chap. CCXXXIV./--_In what Part a Colour will appear in its greatest
Beauty._
/We/ are to consider here in what part any colour will shew itself in
its most perfect purity; whether in the strongest light or deepest
shadow, in the demi-tint, or in the reflex. It would be necessary to
determine first, of what colour we mean to treat, because different
colours differ materially in that respect. Black is most beautiful
in the shades; white in the strongest light; blue and green in the
half-tint; yellow and red in the principal light; gold in the reflexes;
and lake in the half-tint.
/Chap. CCXXXV./--_How any Colour without Gloss, is more beautiful in
the Lights than in the Shades._
/All/ objects which have no gloss, shew their colours better in the
light than in the shadow, because the light vivifies and gives a true
knowledge of the nature of the colour, while the shadows lower, and
destroy its beauty, preventing the discovery of its nature. If, on the
contrary, black be more beautiful in the shadows, it is because black
is not a colour.
/Chap. CCXXXVI./--_Of the Appearance of Colours._
/The/ lighter a colour is in its nature, the more so it will appear when
removed to some distance; but with dark colours it is quite the reverse.
/Chap. CCXXXVII./--_What Part of a Colour is to be the most beautiful._
/If/ A be the light, and B the object receiving it in a direct line,
E cannot receive that light, but only the reflexion from B, which we
shall suppose to be red. In that case, the light it produces being red,
it will tinge with red the object E; and if E happen to be also red
before, you will see that colour increase in beauty, and appear redder
than B; but if E were yellow, you will see a new colour, participating
of the red and the yellow.
[Illustration]
/Chap. CCXXXVIII./--_That the Beauty of a Colour is to be found
in the Lights._
/As/ the quality of colours is discovered to the eye by the light, it
is natural to conclude, that where there is most light, there also
the true quality of the colour is to be seen; and where there is most
shadow the colour will participate of, and be tinged with the colour of
that shadow. Remember then to shew the true quality of the colour in
the light parts only[56].
/Chap. CCXXXIX./--_Of Colours._
/The/ colour which is between the light and the shadow will not be so
beautiful as that which is in the full light. Therefore the chief beauty
of colours will be found in the principal lights[57].
/Chap. CCXL./--_No Object appears in its true Colour, unless the
Light which strikes upon it be of the same Colour._
/This/ is very observable in draperies, where the light folds casting a
reflexion, and throwing a light on other folds opposite to them, make
them appear in their natural colour. The same effect is produced by gold
leaves casting their light reciprocally on each other. The effect is
quite contrary if the light be received from an object of a different
colour[58].
/Chap. CCXLI./--_Of the Colour of Shadows._
/The/ colour of the shadows of an object can never be pure if the body
which is opposed to these shadows be not of the same colour as that on
which they are produced. For instance, if in a room, the walls of which
are green, I place a figure clothed in blue, and receiving the light
from another blue object, the light part of that figure will be of a
beautiful blue, but the shadows of it will become dingy, and not like a
true shade of that beautiful blue, because it will be corrupted by the
reflexions from the green wall; and it would be still worse if the walls
were of a darkish brown.
/Chap. CCXLII./--_Of Colours._
/Colours/ placed in shadow will preserve more or less of their original
beauty, as they are more or less immersed in the shade. But colours
situated in a light space will shew their natural beauty in proportion
to the brightness of that light. Some say, that there is as great
variety in the colours of shadows, as in the colours of objects shaded
by them. It may be answered, that colours placed in shadow will shew
less variety amongst themselves as the shadows are darker. We shall
soon convince ourselves of this truth, if, from a large square, we look
through the open door of a church, where pictures, though enriched with
a variety of colours, appear all clothed in darkness.
/Chap. CCXLIII./--_Whether it be possible for all Colours to
appear alike by means of the same Shadow._
/It/ is very possible that all the different colours may be changed
into that of a general shadow; as is manifest in the darkness of a
cloudy night, in which neither the shape nor colour of bodies is
distinguished. Total darkness being nothing but a privation of the
primitive and reflected lights, by which the form and colour of bodies
are seen; it is evident, that the cause being removed the effect
ceases, and the objects are entirely lost to the sight.
/Chap. CCXLIV./--_Why White is not reckoned among the Colours._
/White/ is not a colour, but has the power of receiving all the other
colours. When it is placed in a high situation in the country, all its
shades are azure; according to the fourth proposition[59], which says,
that the surface of any opake body participates of the colour of any
other body sending the light to it. Therefore white being deprived of
the light of the sun by the interposition of any other body, will remain
white; if exposed to the sun on one side, and to the open air on the
other, it will participate both of the colour of the sun and of the air.
That side which is not opposed to the sun, will be shaded of the colour
of the air. And if this white were not surrounded by green fields all
the way to the horizon, nor could receive any light from that horizon,
without doubt it would appear of one simple and uniform colour, viz.
that of the air.
/Chap. CCXLV./--_Of Colours._
/The/ light of the fire tinges every thing of a reddish yellow; but
this will hardly appear evident, if we do not make the comparison with
the daylight. Towards the close of the evening this is easily done; but
more certainly after the morning twilight; and the difference will be
clearly distinguished in a dark room, when a little glimpse of daylight
strikes upon any part of the room, and there still remains a candle
burning. Without such a trial the difference is hardly perceivable,
particularly in those colours which have most similarity; such as white
and yellow, light green and light blue; because the light which strikes
the blue, being yellow, will naturally turn it green; as we have said
in another place[60], that a mixture of blue and yellow produces green.
And if to a green colour you add some yellow, it will make it of a more
beautiful green.
/Chap. CCXLVI./--_Of the Colouring of remote Objects._
/The/ painter, who is to represent objects at some distance from the
eye, ought merely to convey the idea of general undetermined masses,
making choice, for that purpose, of cloudy weather, or towards the
evening, and avoiding, as was said before, to mark the lights and
shadows too strong on the extremities; because they would in that
case appear like spots of difficult execution, and without grace. He
ought to remember, that the shadows are never to be of such a quality,
as to obliterate the proper colour, in which they originated; if the
situation of the coloured body be not in total darkness. He ought to
mark no outline, not to make the hair stringy, and not to touch with
pure white, any but those things which in themselves are white; in
short, the lightest touch upon any particular object ought to denote
the beauty of its proper and natural colour.
/Chap. CCXLVII./--_The Surface of all opake Bodies participates
of the Colour of the surrounding Objects._
/The/ painter ought to know, that if any white object is placed between
two walls, one of which is also white, and the other black, there will
be found between the shady side of that object and the light side, a
similar proportion to that of the two walls; and if that object be
blue, the effect will be the same. Having therefore to paint this
object, take some black, similar to that of the wall from which the
reflexes come; and to proceed by a certain and scientific method, do as
follows. When you paint the wall, take a small spoon to measure exactly
the quantity of colour you mean to employ in mixing your tints; for
instance, if you have put in the shading of this wall three spoonfuls
of pure black, and one of white, you have, without any doubt, a mixture
of a certain and precise quality. Now having painted one of the walls
white, and the other dark, if you mean to place a blue object between
them with shades suitable to that colour, place first on your pallet
the light blue, such as you mean it to be, without any mixture of
shade, and it will do for the lightest part of your object. After which
take three spoonfuls of black, and one of this light blue, for your
darkest shades. Then observe whether your object be round or square:
if it be square, these two extreme tints of light and shade will be
close to each other, cutting sharply at the angle; but if it be round,
draw lines from the extremities of the walls to the centre of the
object, and put the darkest shade between equal angles, where the lines
intersect upon the superficies of it; then begin to make them lighter
and lighter gradually to the point N O, lessening the strength of the
shadows as much as that place participates of the light A D, and mixing
that colour with the darkest shade A B, in the same proportion.
[Illustration]
/Chap. CCXLVIII./--_General Remarks on Colours._
/Blue/ and green are not simple colours in their nature, for blue is
composed of light and darkness; such is the azure of the sky, viz.
perfect black and perfect white. Green is composed of a simple and a
mixed colour, being produced by blue and yellow.
Any object seen in a mirror, will participate of the colour of that
body which serves as a mirror; and the mirror in its turn is tinged in
part by the colour of the object it represents; they partake more or
less of each other as the colour of the object seen is more or less
strong than the colour of the mirror. That object will appear of the
strongest and most lively colour in the mirror, which has the most
affinity to the colour of the mirror itself.
Of coloured bodies, the purest white will be seen at the greatest
distance, therefore the darker the colour, the less it will bear
distance.
Of different bodies equal in whiteness, and in distance from the eye,
that which is surrounded by the greatest darkness will appear the
whitest; and on the contrary, that shadow will appear the darkest that
has the brightest white round it.
Of different colours, equally perfect, that will appear most excellent,
which is seen near its direct contrary. A pale colour against red, a
black upon white (though neither the one nor the other are colours),
blue near a yellow; green near red; because each colour is more
distinctly seen, when opposed to its contrary, than to any other
similar to it.
Any thing white seen in a dense air full of vapours, will appear larger
than it is in reality.
The air, between the eye and the object seen, will change the colour
of that object into its own; so will the azure of the air change the
distant mountains into blue masses. Through a red glass every thing
appears red; the light round the stars is dimmed by the darkness of the
air, which fills the space between the eye and the planets.
The true colour of any object whatever will be seen in those parts
which are not occupied by any kind of shade, and have not any gloss (if
it be a polished surface).
I say, that white terminating abruptly upon a dark ground, will cause
that part where it terminates to appear darker, and the white whiter.
COLOURS IN REGARD TO LIGHT AND SHADOW.
/Chap. CCXLIX./--_Of the Light proper for painting Flesh Colour from
Nature._
/Your/ window must be open to the sky, and the walls painted of a
reddish colour. The summertime is the best, when the clouds conceal the
sun, or else your walls on the south side of the room must be so high,
as that the sun-beams cannot strike on the opposite side, in order
that the reflexion of those beams may not destroy the shadows.
/Chap. CCL./--_Of the Painter's Window._
/The/ window which gives light to a painting-room, ought to be made of
oiled paper, without any cross bar, or projecting edge at the opening,
or any sharp angle in the inside of the wall, but should be slanting by
degrees the whole thickness of it; and the sides be painted black.
/Chap. CCLI./--_The Shadows of Colours._
/The/ shadows of any colour whatever must participate of that colour
more or less, as it is nearer to, or more remote from the mass of
shadows; and also in proportion to its distance from, or proximity to
the mass of light.
/Chap. CCLII./--_Of the Shadows of White._
/To/ any white body receiving the light from the sun, or the air, the
shadows should be of a blueish cast; because white is no colour, but a
receiver of all colours; and as by the fourth proposition[61] we learn,
that the surface of any object participates of the colours of other
objects near it, it is evident that a white surface will participate of
the colour of the air by which it is surrounded.
/Chap. CCLIII./--_Which of the Colours will produce the darkest Shade._
/That/ shade will be the darkest which is produced by the whitest
surface; this also will have a greater propensity to variety than any
other surface; because white is not properly a colour, but a receiver
of colours, and its surface will participate strongly of the colour of
surrounding objects, but principally of black or any other dark colour,
which being the most opposite to its nature, produces the most sensible
difference between the shadows and the lights.
/Chap. CCLIV./--_How to manage, when a White terminates upon another
White._
/When/ one white body terminates on another of the same colour, the
white of these two bodies will be either alike or not. If they be
alike, that object which of the two is nearest to the eye, should be
made a little darker than the other, upon the rounding of the outline;
but if the object which serves as a ground to the other be not quite so
white, the latter will detach of itself, without the help of any darker
termination.
/Chap. CCLV./--_On the Back-grounds of Figures._
/Of/ two objects equally light, one will appear less so if seen upon
a whiter ground; and, on the contrary, it will appear a great deal
lighter if upon a space of a darker shade. So flesh colour will appear
pale upon a red ground, and a pale colour will appear redder upon
a yellow ground. In short, colours will appear what they are not,
according to the ground which surrounds them.
/Chap. CCLVI./--_The Mode of composing History._
/Amongst/ the figures which compose an historical picture, those which
are meant to appear the nearest to the eye, must have the greatest
force; according to the second proposition[62] of the third book, which
says, that colour will be seen in the greatest perfection which has
less air interposed between it and the eye of the beholder; and for
that reason the shadows (by which we express the relievo of bodies)
appear darker when near than when at a distance, being then deadened by
the air which interposes. This does not happen to those shadows which
are near the eye, where they will produce the greatest relievo when
they are darkest.
/Chap. CCLVII./--_Remarks concerning Lights and Shadows._
/Observe/, that where the shadows end, there be always a kind of
half-shadow to blend them with the lights. The shadow derived from any
object will mix more with the light at its termination, in proportion
as it is more distant from that object. But the colour of the shadow
will never be simple: this is proved by the ninth proposition[63],
which says, that the superficies of any object participates of the
colours of other bodies, by which it is surrounded, although it were
transparent, such as water, air, and the like: because the air receives
its light from the sun, and darkness is produced by the privation of
it. But as the air has no colour in itself any more than water, it
receives all the colours that are between the object and the eye. The
vapours mixing with the air in the lower regions near the earth, render
it thick, and apt to reflect the sun's rays on all sides, while the air
above remains dark; and because light (that is, white) and darkness
(that is, black), mixed together, compose the azure that becomes the
colour of the sky, which is lighter or darker in proportion as the air
is more or less mixed with damp vapours.
/Chap. CCLVIII./--_Why the Shadows of Bodies upon a white Wall are
blueish towards Evening._
[Illustration]
/The/ shadows of bodies produced by the redness of the setting
sun, will always be blueish. This is accounted for by the eleventh
proposition[64], which says, that the superficies of any opake body
participates of the colour of the object from which it receives the
light; therefore the white wall being deprived entirely of colour, is
tinged by the colour of those bodies from which it receives the light,
which in this case are the sun and the sky. But because the sun is red
towards the evening, and the sky is blue, the shadow on the wall not
being enlightened by the sun, receives only the reflexion of the sky,
and therefore will appear blue; and the rest of the wall, receiving
light immediately from the sun, will participate of its red colour.
/Chap. CCLIX./--_Of the Colour of Faces._
/The/ colour of any object will appear more or less distinct in
proportion to the extent of its surface. This proportion is proved, by
observing that a face appears dark at a small distance, because, being
composed of many small parts, it produces a great number of shadows;
and the lights being the smallest part of it, are soonest lost to the
sight, leaving only the shadows, which being in a greater quantity, the
whole of the face appears dark, and the more so if that face has on the
head, or at the back, something whiter.
/Chap. CCLX./--_A Precept relating to Painting._
/Where/ the shadows terminate upon the lights, observe well what parts
of them are lighter than the others, and where they are more or less
softened and blended; but above all remember, that young people have
no sharp shadings: their flesh is transparent, something like what
we observe when we put our hand between the sun and eyes; it appears
reddish, and of a transparent brightness. If you wish to know what
kind of shadow will suit the flesh colour you are painting, place one
of your fingers close to your picture, so as to cast a shadow upon it,
and according as you wish it either lighter or darker, put it nearer or
farther from it, and imitate it.
/Chap. CCLXI./--_Of Colours in Shadow._
/It/ happens very often that the shadows of an opake body do not retain
the same colour as the lights. Sometimes they will be greenish, while
the lights are reddish, although this opake body be all over of one
uniform colour. This happens when the light falls upon the object (we
will suppose from the East), and tinges that side with its own colour.
In the West we will suppose another opake body of a colour different
from the first, but receiving the same light. This last will reflect
its colour towards the East, and strike the first with its rays on the
opposite side, where they will be stopped, and remain with their full
colour and brightness. We often see a white object with red lights, and
the shades of a blueish cast; this we observe particularly in mountains
covered with snow, at sun-set, when the effulgence of its rays makes
the horizon appear all on fire.
/Chap. CCLXII./--_Of the Choice of Lights._