8 Thoughts on Colouring* 



Addifon, in his Cato, heightens his figure by " red with 

 uncommon wrath." Gray and the foft green convey the 

 idea of tranquillity ; and the dark blue gray, and brown, of 



foitow and melancholy : 



me, goddefs, bring, 



" To arched walks of twilight groves, 



•» And Ihadows- brown, that Sylvan loves, 



" Of pine .. Milton 5 11 Penfrrofc, 



Mellow tones ever affociate with gentle, and iliarp ones 

 with violent, emotions. 



In the practice of glazing, the lefs oil is ufed the better; if 

 the part is rubbed out, and wiped dry with a filk rag (an old 

 filk handkerchief is good, but a piece of wafh leather does 

 beft), then the colour fhould be driven as much as poffible 

 and often repeated if neceflary, except it mould be a colour 

 that requires drying oil : and, I believe, on moll occafions, if 

 the part is hard, drying oil and turpentine, in equal parts, 

 will be found as good a vehicle as any. In what the artift 

 terms fcumbling, or ufing an opaque colour thin, it mould 

 lie driven with a ftiff pencil, and as little oil as poffible. 



As a conclufion to the prefent paper, I {hall add the fun* 

 ©f my remarks on the Venetian pictures in the Orleans col- 

 lection : — " From the pictures of Titian and Paul Veronefe 

 I judffe they were particularly careful to group the warn* 

 colours ; to avoid the ufe of blue and cold ones > never to 

 foffev them to interrupt the principal mafs of light, which 

 ivith them is always compofed of warm colours; that the cold 

 colours were fparingly introduced for the purpofe of fupport- 

 ing the blue in the iky or diftance, as in No. 123, 240, 249*, 

 and never on the principal ohjecl. In many of their pictures 

 there is a total exclufion of the cold colours, as in 169 and 

 181; in others, where the colours of the obje&s are all 

 warm, the Ikies are broken either with warm purple clouds, 

 or the blue of the element reduced to gray, as in 49, 211, 



* j»3, Holy family in a landfcape, Titian ; 240, Diana and A£reon, 

 Titian; and 24.}, Diana and Califto, Titian; 169, an Allegory; and 

 18 t y a ditto, Taui Vcrcuefe, 



220. 



