PAINTING. 137 



Gumption. — The art of preparing colors. 



Impas'to. — The thickness of the layer or body of pigment ap- 

 plied by the painter to his canvas. 



Impres'sion. — The cround color, or that which is first laid on 

 to receive the other colors. 



Keep'ing'. — The observance of a due proportion in the general 

 light and coloring of a picture, so that a proper harmony 

 and gradation shall prevail throughout the whole. 



Land'scape. — A picture exhibiting the form of a district of 

 countr}"^, so far as the eye can reach, or a particular extent 

 of land and the objects it contains, or its various scenery. 



Lim'ning. — The art or act of drawing or painting in ivater- 

 co/ors. 



Manner. — The particular habit of a painter in managing colors, 

 lights, and shades. 



Morbidezza. — Softness and delicacy of style in the coloring 

 of flesh. 



Moresque'. — Ornamental painting, in which foliage, fruits, 

 flowers, etc., are combined, without the introduction of 

 the human figure or the figures of animals. 



Nim'bus. — A circle or disk of rays of light around the heads 

 of divinities, saints, and sovereigns in pictures, etc. 



Panora'ma. — A painting representing a complete or entire 

 view, as of a country, a river, a city, etc. 



Pastic'cio (Ital., from past icco, a pie). — A picture painted by 

 a master in a style dissimilar to that which he usually 

 adopted. 



Fenum'bra (Lat. peiie, almost, and wnhra, a shadow). — The 

 point of a picture where the shade blends with the light. 



Pornog''raphy. — Licentious painting used to adorn the walls 

 of rooms sacred to bacchanalian orgies. 



Relief. — The apparent prominence or standing out of a figure 

 from the ground on which it is painted. 



Renaissance. — A style of decorative art freer than the antique, 

 but resulting therefrom, revived by llaffaelle in the Pon- 

 tificate of Leo X., as the result of the exhuming of certain 

 ancient paintings. 



Rep'lica. — A copy of an original picture done by the hand of 

 the same master. 



Repose'. — The harmony observed when the subject is not 

 divided into too many unconnected parts, or when nothing 

 glares, either in the shade, light, or coloring. 

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