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There are two ufeful Colours I have not mention’d, White and Biack, which 
fome count no Colours at all. I think they may be termed the two Extreams of 
Colouring, fince the one is the flrongeft Light we can lay on, and the other the 
deepeft 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 Objedt is of a beautiful and Primary Colour, as Red, 
Blue, or Yellow; 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 fir ft 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; one by mixing White with your 
Colours, and laying on a thick Body; the other is only walking your Paper or Vel¬ 
lum with a thin Water tindfured with Colour. The firft Method, which may 
more properly be called Painting, is thus performed: When you have a Drawing 
finifhed in Out-Lines, you lay in your Colours mixed with White, in fuch a 
Medium, as to be about the middle Colour between your higheft Lights and deepeft: 
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 beft : If you do it in Parts, the 
Diftances muft be done firft; becaufe the Out-lines of the Parts more forwards, rnay 
then be worked over the more diftant and firft finifhed Parts. When you have laid 
your Ground, the ufual Way is, to fhadow firft with the fame Colours you have 
laid in, only with lefs White in them, till you come to your deepeft: Shadows,, 
wherein is no White at all; but it is to be remembered, that thefe ftrong Shadows 
are required only in the Front-Objedts of the Pidture, and that the deep Shadows 
of the fine Colours, muft be allay’d with Black, or Brown, to give them their na¬ 
tural Obfcurity, 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 Picture; obferving always, that as Gbje&s are little fhadowed, they 
muft be little or nothing heightened when very diftant; but Front-Figures may be 
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 
feme other Body that reflects the Light very ftrongly. 
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 Diftances neareft to the Fore-Ground are too faint, they will feem to be 
farther off than their Perfpe&ive Proportions will allow: Or, if your greatefi: 
Diftances are expreffed too ftrong and diftindt, they are brought too near, and 
contradidt the Senfe and Meaning of the Piece; fo that after finifhing the Parts, 
there 
