[ 153 ] 



ïn a piece of painting, fpecial care fliould be 

 taken that there be no very fliarp, or hard lines 

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

 ately bordering on dark fliadows, for they are 

 difcordant in painting : on the contrary^ the out- 

 lines of objeds fliould be fo broken into the 

 grounds behind them, as not to be precifely 

 traced. Many great painters, to avoid a too 

 fhocking glare of colours, have broke the co- 

 lours of their draperies, as well as other ob- 

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

 nature : for example, expofe a red and a blue 

 fattin in a good light near each pther, and they 

 fliall both appear purple in thpfe parts of each 

 of them which dired:ly receive the reflection of 

 the other : the fame is to be obferved of other 

 colours, fo that many painters have harmonized 

 all their colours, by never introducing ^ diredi; 

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

 lour, without fome little mixture or allay. 



I fliall prQcee4 to fpeak of wafliing, or fl:ain- 

 Ing in colours, either of drawings or prints, by 

 way of hint to private perfons, who like to 

 ^mufe themfelves in that way, rather than to 



artifans. 



