C 153 3 



în a piece of painting, fpecial care fhould be 

 taken that there be no very fharp, or hard lines 

 (as we call them) or any fudden lights immedi^ 

 ately bordering on dark fhadows, for they arc 

 difcordant in painting : on the contrary, the out- 

 lines of objeéls fhould be To broken into the 

 grounds behind them, as not to be precifely 

 traced. Many great painters^ to avoid a tOQ 

 Ihocking glare of colours, have broke the co- 

 lours of their draperies, as well as other ob- 

 jects, into one another, for they are really fo in 

 nature : for example, expqfe a red and a blue 

 fattin in a good light near each other, and they 

 lhall both appear purple in thofe parts of each 

 of them which dire^lly receive the refledlion of 

 the other : the fame is to be obferved of other 

 colours, fo that many painters haye harmonized 

 all their colours, by never introducing a diredj? 

 red, blue, yellow, or hardly any other gay co* 

 }pur, without fqme little mixture or allay. 



I fhall proceed to fpeak of waftiing, or ftain- 

 ing in colours, either of drawings or prints, by 

 way of hint to private perfons, who like to 

 amufe themfelves in that way, rather than to 



artifans. 



