a-02 NOTES. 



NOTE XLIII. VERSE 523. 

 ^he hand that colours well mujl colour bright, 

 Hope not that praife to gain by Jickly whits. 



All the modes of harmony, or of producing that effect of 

 ^colours which is required in a picture, may be reduced to 

 three, two of which belong to the grand fttle and the other 

 to. the ornamental. 



The firft may be called the Roman manner where the 

 colours are of a full and ftrong body, fuch as are found in the 

 Transfiguration; the next is that harmony which is produced 

 by what the Antients called the corruption of the colours, by 

 mixing and breaking them till there is a general union in the 

 whole, without any thing that (hall bring to your remem- 

 brance the Painter's pallette, or the original colours ; this 

 may be called the Bolognian ftile, and it is this hue and effect 

 of colours which Ludovico Carracci feems to have endeavoured 

 to produce, though he did not carry it to that perfection which 

 we have feen fince his time in the fmall works of the Dutch 

 fchool, particularly Jan ^teen, where art is completely con- 

 cealed, and the Painter, 'like a great Orator, -never draws the 

 attention from the fubject on himfelf. 



The laft manner belongs properly to the ornamental ilile, 

 which we call the Venetian, where it was firft practifed, but is 

 perhaps better learned from Rubens; here the brightest colours 

 poflibie are admitted, with the two extremes of warm and 

 cold, apd-thqfe reconciled by being difperfed over the picture, 

 till the whole appears like a bunch of flowers. 



As I have given inftances from the Dutch fchool, where 

 the art of breaking colour may be learned, we may recom- 

 mend here an attention to the works of Watteau for excel- 

 lence in this florid flile of painting. 



To 



