DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18734#0059
COL
The judgment of the eye is fo exaft, and the variety
of natural objecls fo multiplied, that not many painters
attain eminence in colouring: they may fucceed in part,
in certain fubjefts, or as it were by intervals, without
being able to give perfect fatisfacSlion ; and perhaps, one
reafon may be, that however fyftematic rules may apply
to defign, or to compofition, (whereby the ftudent is
guarded againfi material faults by the labours and pre-
cepts of others, and by being able to afcertain at leaft an
approach to a Standard or canon) and alfo, that parts
and dimenfions are expreffible, and explicable; yet in
colouring, every eye fees for itfelf, and is for itfelf im-
preffed by apparent truth or fallacy, beauty or deformity.
The variety of tints which may be thought the fame
colour, is very confiderable, as are its degradations and
combinations, a flight departure from which, is not
without ferious confequences when Strengthened into a
manner.
Perhaps, as in mufic there is unqueftionably a natural
formation of difpofition of the ear, which fits it for har-
mony, &c. fo in the eye, a fimilar quality may be
neceffary, and a good eye be equally the gift of nature
as a good ear. It is alfo highly probable, that many
phyfical caufes may contribute to prevent the acquisi-
tion of this branch of art: not only the eye may be
more or lefs imperfect, without the perception of the
perfon himfelf (who by conusant habitude is infenfible
of it), but alfo the general constitution of the body may
concur to this deficiency. An artift naturally melan-
choly and bilious, will adopt a yellow, a greenifh, or
perhaps 3 leaden tone of colouring. The liftlefs and
G 2 phleg-
The judgment of the eye is fo exaft, and the variety
of natural objecls fo multiplied, that not many painters
attain eminence in colouring: they may fucceed in part,
in certain fubjefts, or as it were by intervals, without
being able to give perfect fatisfacSlion ; and perhaps, one
reafon may be, that however fyftematic rules may apply
to defign, or to compofition, (whereby the ftudent is
guarded againfi material faults by the labours and pre-
cepts of others, and by being able to afcertain at leaft an
approach to a Standard or canon) and alfo, that parts
and dimenfions are expreffible, and explicable; yet in
colouring, every eye fees for itfelf, and is for itfelf im-
preffed by apparent truth or fallacy, beauty or deformity.
The variety of tints which may be thought the fame
colour, is very confiderable, as are its degradations and
combinations, a flight departure from which, is not
without ferious confequences when Strengthened into a
manner.
Perhaps, as in mufic there is unqueftionably a natural
formation of difpofition of the ear, which fits it for har-
mony, &c. fo in the eye, a fimilar quality may be
neceffary, and a good eye be equally the gift of nature
as a good ear. It is alfo highly probable, that many
phyfical caufes may contribute to prevent the acquisi-
tion of this branch of art: not only the eye may be
more or lefs imperfect, without the perception of the
perfon himfelf (who by conusant habitude is infenfible
of it), but alfo the general constitution of the body may
concur to this deficiency. An artift naturally melan-
choly and bilious, will adopt a yellow, a greenifh, or
perhaps 3 leaden tone of colouring. The liftlefs and
G 2 phleg-