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There are two ufeful Colours I have not mention’d, White and Black, which 
fome count no Colours at all. I think they may be termed the two Extreams of 
Colouring, fmce the one is the ftrongeft Light we can lay on, and the other the 
deeped: Shade. Thefe are feldom ufed pure, but are mixed with other Colours. 
The White (where Colours are laid on in a Body) mixed, in different Proportions, 
with any other Colour, makes all the Variety of Shades that the two Colours fo 
mixed are capable of producing. White may be compounded with any fimple or com- 
pound Colour, to produce different Shades thereof. Black is often mixed (a little 
of it) in the Shades, where the Qbjedt is of a beautiful and Primary Colour, as Red, 
Blue, or Yellow j for thefe Colours fhadowed with fine dark Colours of their own 
Species, would be too glaring, and quite unnatural ; fo that it is neceffary to allay 
them with Black, or fome dull Colour ; for if you obferve Nature itfelf, for Ex- 
ample, a fine red or blue Garment, it will appear' exceeding fine in the firff and 
fecond Lights, but if you attentively examine the deep Shades, the Colour is often, 
fo obfcure than you can call it by no particular Name. 
There are two Ways of Painting in Water 5 one by mixing White with your 
Colours, and laying on a thick Body; the other is only wafhing your Paper or Vel- 
lum with a thin Water tindtured with Colour. The firff Method, which may 
more properly be called Painting, is thus performed : When you have a Drawing 
finifihed in Out-Lines, you lay in your Colours mixed with White, in fuch a 
Medium, as to be about the middle Colour between your higheff Lights and deepeff 
Shadow. You may lay in the whole Piece before you begin to fhadow and 
heighten, or lay in and finifh it in Parts as you think beff : If you do it in Parts, the 
Diffances muff be done firff; becaufe the Out-lines of the Parts more forwards, rnay 
then be worked over the more diffant and firff finifhed Parts. When you have laid, 
your Ground, the ufualWayis, to fhadow firff with the fame Colours you have 
laid in, only with lefs White in them, till you come to. your deepeff Shadows, 
wherein is no White at all; but it is to be remembered, that thefe ft'rong Shadows 
are required only in the Front-Objedts of the Pidfure, and that the deep Shadows 
of the fine Colours, muff be allay’d with Black, or Brown, to give them their na- 
tural Ohfcurity, When the dark Shadows are finifhed, you may begin to heighten 
the Lights, by adding White to the Colours with which you laid in the different 
Parts of your Pidture ; obferving always, that as Objedts are little fhadowed, they 
muff be little or nothing heightened when very diffant; but Front-Figures maybe 
heightened very much : Yet we fhould avoid ufing pure White in the Heighten- 
ing of any Objedt, unlefs it be of a white Colour, or hath a polifh’d Surface, or be. 
fome other Body that refledts the Light very ffrongly. 
When all the particular Parts of a Pidture are finifhed feparately, the whole is to 
he carefully furvey’d and confider’d, to fee that there is Harmony throughout;. 
For, if Diffances neareft to the Fore- Ground are too faint, they will feem to be 
farther off than their Perfpedtive Proportions will allow : Or, if your . greateff 
Diffances are expreffed too ffrong and diftindt, they are brought too near, and' 
contradidt the Senfe and Meaning of the Piece ; fo that after finifhing the Parts, 
there 
