The artists repository and drawing magazine: exhibiting the principles of the polite arts in their various branches (4.1790)

CON

CONTOUR is fignificative of the fame as out-
line, and expreffes thofe lines which define the fuper-
ficies of a figure ; which terminate its dimenfions.
Contours fliould not be hard, dry, or ft iff; they mould
not be every where equally perceptible, but fhould be
foftened, melted, and harmonioufly declined into the
furrounding parts ; except in fuch places where diftinft-
nefs is requifite, and which require certainty and force.
The grace of Contours depends much on a certain
wavingnefs : a gliding, flowing, regular, unbroken (i. e.
void of (harp and difagreable angles) eafy appearance,
has a good eftedh They ought to be continued, or
lengthened (i. e. not fudden or harfh) to avoid too many
pieces. Care however is requifite, that in giving the
member a gliding outline, the anatomy is not injured,
nor the bones diflocated. This rule is of indifpenfable.
confequence to figures ftanding on one foot only.

CONSTRAINT is fpoken of a piece whofe treat-
ment is not firm, bold, and determined, but which fhe'ws
that the hand which produced it, was under doubt and
fear. A drawing, for inftance, which is copied, almoft
always fhews conftraint, and thereby is diftinguifhable
from an original, even without being compared.

A figure is conftrained when its attitude is not eafy
and natural.

CONTRAST fignifies, in painting, a variety, a
diffimilarity of objects, of colours, of forms, of attitudes,
and_ of members : always ftippofing each contrafting
part to contribute its fhare to the general welfare, the
tafle, beauty, and nature of the piece.

1 he various difpofition of obje&s, produces con-
trail