NOTES. 103 



To all thefe different manners, there are fome general rules 

 that muft never be neglected; firft, that, the fame colour, 

 which makes the largeft mafs, be diffufed and appear to re- 

 vive in different parts of the picture, for a (ingle colour will 

 make a fpot or blot : Even the difperfed flefh colour, which 

 the faces and hands make, require their principal mafs, which 

 is beft produced by a naked figure ; but where the fubject will 

 not allow of this, a drapery approaching to flem-colour will 

 snfwer the purpofe; as in the Transfiguration, where a wo- 

 man is clothed in drapery of this colour, which makes a prin- 

 cipal to all the heads and hands of the picture; and, for the. 

 fake of harmony, the colours, however diftinguiflied in their 

 light, mould be nearly the fame in their madows, . of a 



" fimple unity of made, 



" As all were from one fingle pallette fpread." 

 And to give the utmoft force, flrength, and folidity to your 

 work, fome part of the picture mould be as light and fome; 

 as dark as poffibie ; thefe two extremes are then to be harmo- 

 nifed and reconciled to each othen 



Inftances, where both of them are ufed, may be obferved- 

 in two pictures of Rubens, which are equally eminent for the 

 force and brilliancy of their effect ; one is in the cabinet of. 

 the Duke of Rutland, and the other in the chapel of Rubens 

 at Antwerp, which ferves as his monument. In both thefe 

 pictures he has introduced a female figure drefled in black fatin, . 

 the madows of which are as dark as pure black, oppofed to the; 

 contrary extreme of brightnefs, can make them. 



If to thefe different manners we add one more, -that in. 

 which a filver-grey or pearly tint is predominant, I believe 

 every kind of harmony that can be produced by colours will 

 be comprehended. One of the greateft examples in this mode 

 is the famous marriage at Cana, in St. George's Church at 



Venice., 



