dens, in walks, or palifades, he. being lefs expenfive
Marine terms, are thofe whofe lower parts end in
fifties tails, he.
Double terms, and even quadruple terms, are fome •
TIMES, vide manners firfly feeond, and third.
TIMID is nearly the fame as constraint; it is
the abfence of liberty and freedom, and ufually marks a
TINTS of colours, may be conceived as a regular
fcale of colour, defcending from light to dark: thus,
red may be very light, then fomewhat lower, then
middling, then darkifh, then very deep; according to
its participation of, or diftance from white, or the
neareft approach of rednefs to it. And the fame may be
faid of its relation to any other colour: as a reddifli-
brown tint, a reddim-yellow, &c.
TONE of Colour, though partly explained by
tint, yet differs from it, as it relates to the compa-
rative efFecl; of colours ; for the actual tint of a part
is not varied by the introduction of another colour near
it, but its apparent tone is a!moil: totally changed, by
the fympathy or antipathy of fuch a neighbour. A good
tone of colours is when the whole is well adjufted as a
compofition of colours.
TOUCH, is that manner which every mafter ac-
quires in applying his colours on the canvas ; in this
fenfe, we fay, a touch is light, delicate, fpirited, firm,
bold, large, &c.